.TEXTILES  AND 
COSTUME  DESIGN 


BY 


EVELYN  PETERS  ELLSWORTH 


SAN  FRANCISCO 

PAUL  ELDER  AND  COMPANY 

M  CM  XVII 


Copyright,  1917,  by 
PAUL  ELDEE  AND  COMPANY 

SAN  FRANCISCO 


t/6 


TO  MY  MOTHER 


CONTENTS 

PAGE 

INTRODUCTION ix 

HISTORY  OF  TEXTILES 3 

LINEN  AND  WOOL 5 

SILK 7 

TAPESTRY 9 

HISTORY  OF  COSTUME 12 

EGYPTIAN 14 

GRECIAN 15 

ROMAN 17 

MEROVINGIAN  PERIOD 19 

CARLOVINGIAN  PERIOD 20 

FEUDAL  PERIOD 21 

THE  MIDDLE  AGES 22 

EARLY  BOURBON  MONARCHY 24 

Louis  XIV 25 

REIGNS  OF  Louis  XV  AND  Louis  XVI 27 

REVOLUTION 28 

DIRECTOIRE 29 

EMPIRE 30 

RESTORATION 31 

SECOND  REPUBLIC 32 

SECOND  EMPIRE 32 

THIRD  REPUBLIC 33 

1880-1900  AND  SUMMARY 34 

COSTUME  DESIGN 37 

LINE  AND  DRAPERY 38 

[v] 


CONTENTS 

PAi 

SILHOUETTE A 

THE  STOUT  FIGURE A 

THE  SLENDER  FIGURE A 

ACCESSORIES A 

THE  HAT A 

JEWELRY 5 

MATERIALS 5 

METHODS  OF  ADULTERATION 5 

TESTS  FOR  ADULTERATION <.  5 

COLOR 5 

EXAMPLES  OF  USE  OF  COLOR  FOR  CERTAIN  TYPES    .  6 

SUGGESTIONS  ON  THE  USE  OF  COLOR 6 

CONCLUSION 6 

SUGGESTED  OUTLINES  OF  COSTUME  DESIGN     ....  7 

NUMBER  I       7 

NUMBER  II 7 

NUMBER  III 7 

BIBLIOGRAPHY 7' 

REFERENCE  BOOKS  ON  TEXTILES  AND  COSTUME 

DESIGN 7\ 

READINGS — TEXTILES 81 

SPINNING  AND  CARDING 8< 

WEAVING 81 

COTTON 8 

MAGAZINES & 

WOOL  AND  WORSTED  INDUSTRIES 8; 

SILK 8; 

FLAX,  JUTE,  HEMP,  ET  CETERA  .    . & 

[vi] 


ILLUSTRATIONS 

Plate  Facing  Page 

I.  EXAMPLES  OF  EARLY  EGYPTIAN  COSTUMES    .    .  4 

II.  NEEDLEPOINT,  VENETIAN,  ABOUT  1600  ....  6 

III.  LATE  GOTHIC  TAPESTRY 12 

IV.  COSTUMES  OF  THE  MIDDLE  AGES 22 

V.  COSTUMES  OF  DIRECTOIRE  PERIOD 28 

VI.  COSTUMES  OF  EMPIRE  PERIOD 30 

VII.  BEAUTIFUL  EXAMPLE  OF  LINE  AND  DRAPERY  IN 

GREEK  SCULPTURE 40 

VIII.  STRUCTURAL  LINES  AND  PROPORTION     ....  42 
IX.  LINES  WITHIN  THE  SILHOUETTE  WHICH  AC- 
CENTUATE HEIGHT 46 

X.  MODERN  HAIR-DRESSING  FROM  THE  GREEK  LINES  48 


[VII] 


Introduction 

Design  requires:  study  of  propor- 
tions of  human  figure  and  methods  of  improv- 
ing existing  proportions;  a  study  of  color  in 
its  relation  to  types  of  complexion  and  figure  and 
material  and  of  materials  from  point  of  view  of  suit- 
ability to  different  types  of  individual  and  occasion; 
it  also  includes  designing  of  type  dresses,  hats, 
wraps;  discussion  of  dress,  coiffure,  foot-wear,  et 
cetera. 

THE  AIM  : 

1.  To  gain  knowledge  of  the  evolution  of  line  and 
color  in  the  designs  of  clothes  and,  through  study 
of  textiles  and  historic  costume,  their  relation  to 
present-day  clothes. 

2.  To  consider  the  use  of  appropriate  and  becom- 
ing materials  and  styles. 

3.  To  adapt  current  styles  to  individual  appear- 
ance. 

4.  Logically  to  analyze  details,  their  use  and  abuse. 

5.  To  understand  the  proper  value  of  accessories 
and  of  color. 

6.  To  correlate  Costume  Design  with  all  the  arts. 
Ruskin  has  written:  "Good  taste  is  essentially  a 

moral  quality.  Taste  is  not  only  a  part  and  an  index 
of  morality.  It  is  morality.  The  first,  last  and  closest 

[IX] 


•' i  «*«>'**! < <     •  //,  '  Introduction 

trial  question  to  any  living  creature  is, '  What  do  you 
like?'  The  entire  object  of  education  is  to  make 
people  not  merely  DO  the  right  things,  but  ENJOY  the 
right  things.  What  we  like  determines  what  we  are." 

If  personality  is  the  visible  expression  of  char- 
acter, if  it  distinguishes  the  individual,  and  if  it  is 
the  sum  of  his  vitality  and  mentality,  then  there  is  no 
doubt  that  our  clothes  are  seriously  to  be  considered. 
They  reflect  our  character,  as  well  as  our  social  status 
and  the  customs  of  our  times.  The  old  proverb,  "Tell 
me  your  friends  and  I  will  tell  you  what  you  are,9' 
may  be  changed  to,  "Tell  me  how  you  dress  and  I 
will  tell  you  what  you  are."  It  is  possible  to  live 
above  one's  apparel,  but  dress  is  of  the  greatest  im- 
portance, and  its  elegance  depends  upon  two  funda- 
mental principles:  the  search  for  greater  simplicity, 
and  the  search  for  detail  and  personality. 

Not  only  has  costume  a  psychological  effect  upon 
the  wearer,  but  for  personal  charm  it  means  as  much 
as  the  speaking  voice  or  a  pleasing  manner.  One's 
dress  attracts  or  repels  at  all  times.  The  whole  prob- 
lem seems  to  be  to  subordinate  it  to  the  wearer  and 
have  unity  of  the  whole  in  mass,  line,  and  color,  so 
that  dress  reveals  one's  best  characteristics  and  one 
may  expect  the  remark,  (<What  a  charming  person!" 
instead  of,  "What  a  lovely  gown!" 

Good  taste,  or  a  fine  sense  of  the  fitness  of  things, 
may  be  attained  by  observation  and  study  and  by 
surrounding  oneself  with  worthy  and  beautiful 
things.  Good  taste  is  subtle  and  requires  imagination 
as  well  as  observation.  Its  absence  results  in  such 

[x] 


Introduction 

incongruities  as  the  wearing  of  ermine  in  the  daytime 
with  any  heterogeneous  type  or  texture  of  cloth. 

Indeed,  ermine  is  a  striking  example  of  a  misused 
accessory  in  a  costume.  It  is  fascinating,  because  it 
conjures  up  visions  of  royal  personages,  Jcnights  and 
ladies.  The  laws  of  the  Middle  Ages  (Edward  HI) 
required  that  it  be  worn  only  by  nobles,  and  to-day 
in  Europe  ermine  is  worn  on  state  robes;  the  rank 
and  position  of  the  wearer  is  in  many  cases  indicated 
by  its  presence  or  absence  and  the  disposition  of  the 
black  spots,  and  when  worn  in  crowns  or  coronets  it 
is  a  recognition  of  heraldry.  Therefore,  at  all  times  it 
should  be  reserved  for  state  occasions  or  worn  for- 
mally with  certain  royally  textured  and  dignified 
clothes  and  fabrics,  just  as  velvets  and  satins  are 
reserved  for  formal  gowns  and  not  for  kitchen  or 
garden  work,  just  as  large  velvet  hats  are  not  worn 
in  the  morning  with  workaday  clothes  or  short  skirts, 
and  just  as  royally  plumed,  large  velvet  hats  are 
suited  only  to  formal  afternoon  or  evening  gowns  of 
velvet  or  satin.  Much  might  be  written  upon  this 
subject  of  good  taste  and  imagination  in  the  wearing 
of  clothes. 

One  of  the  best  New  York  designers  of  costume, 
speaking  of  suitability,  said  that  when  she  designed 
a  gown  for  a  certain  celebrity  she  invited  her  to  be 
her  week-end  guest,  and  breakfasted,  lunched,  and 
dined  her  for  three  days,  in  order  to  study  her  per- 
sonality. Monday  she  returned  with  her  to  the  shop 
and  draped  the  fabrics  upon  her.  The  costume  was 
designed  for  that  particular  person.  Later  the  manu- 

[XI] 


Introduction 

facturers  of  ready-made  clothing  copied  the  gown, 
which  was  wholly  unsuited  to  any  other  kind  of 
person.  In  spite  of  this,  it  was  hideously  displayed  in 
shop  windows  and  worn  by  all  types  of  people. 

Taste  may  be  developed  by  a  continuous  effort  to 
choose  among  lines,  forms,  and  masses,  fine  and  less 
fine,  and  it  is  certain  that  with  logical  thought  and 
observation  any  one  may  be  a  good  designer  of  what- 
ever he  may  really  want  to  possess.  It  is  not  necessary 
to  be  an  artist  for  one  to  choose  a  sketch  from  a  mag- 
azine or  book  and  change  the  lines  to  suit  one's  own 
requirements  and  type  of  figure.  But  although  de- 
signing in  this  way  may  seem  a  simple  process,  it 
involves  consideration  of  textiles,  historic  costume, 
and  costume  design.  In  the  succeeding  pages  these 
subjects  will  be  briefly  discussed,  in  the  hope  that  the 
reader  will  want  to  experiment  and  search  further. 


[xn 


TEXTILES  AND  COSTUME  DESIGN 


HISTORY  OF  TEXTILES 

THE  ancient  and  most  primitive  arts  were  in- 
spired by  nature  and  were  developed  through 
the  natural  resources  of  the  countries  and  the 
primitive  tools  and  materials.  The  inspiration  to 
create  and  design  sprang  from  the  people's  simple 
needs  and  necessities;  hence  the  first  known  arts 
were  pure  and  original  and  there  were  no  foreign 
influences  to  help  them. 

As  the  arts  of  past  ages  changed  from  period  to 
period,  the  arts  of  nations  and  peoples  expressed 
themselves  through  temperament  and  spirit  in  forms, 
lines,  ornaments,  and  colorings.  Through  all  the  cen- 
turies, however,  the  immutable  laws  of  composition 
and  proportion  remained  in  spite  of  changing  styles 
and  revolutions.  The  progress  and  development  of 
all  the  arts;  of  architecture,  painting,  design,  tex- 
tiles, and  costumes,  may  easily  be  traced  from  the 
earliest  Egyptian,  Babylonian,  and  Assyrian  coun- 
tries through  Greece  and  Southern  Italy,  through 
Asia  Minor  to  Bagdad  and  Byzantium,  to  the  Mogul 
courts,  to  Italy,  France,  and  England. 

All  primitive  as  well  as  Egyptian  designs  and  or- 
namentations were  simple  in  construction ;  they  were 
representative  and  decorative,  and  geometrically  ar- 
ranged with  only  a  few  lines.  The  Egyptians  used 
color  conventionally,  and  though  their  paintings 

[3] 


TEXTILES  AND  COSTUME  DESIGN 

were  in  flat  tints  they  still  conveyed  clearly  the  ob- 
jects they  desired  to  represent.  Eed,  blue,  or  yellow, 
with  black  or  white,  gave  distinction  and  clearness 
to  their  color  designs.  The  lotus,  papyrus,  and  palm 
branches  growing  on  the  banks  of  the  Nile,  and  the 
well-known  asp  and  beetle,  were  the  main  motifs. 
Feathers  of  rare  birds  were  depicted  in  the  designs, 
with  distinctness  and  motion.  The  flowers  which  the 
Egyptians  used  in  their  festivals  to  decorate  the  cap- 
itals of  their  pillars  were  taken  perhaps  from  the 
full-blown  lotus  flowers  or  the  rushes  or  reeds  used 
to  bind  stalks  at  top  and  bottom  of  their  primitive 
houses,  or  perhaps  their  tent  poles  lashed  to  a  point 
at  the  top.  In  their  tents  the  fibers  used  for  the  covers 
were  often  plaited  and  woven,  a  custom  which  prob- 
ably inspired  them  to  carry  out  the  idea  of  the 
squared  painted  design  for  their  temple  ceilings. 

It  is  not  known  definitely  when  the  textile  industry 
originated.  It  is  certain,  however,  that  it  is  older 
than  architecture,  that  fabrics  preceded  paintings, 
and  that  "when  the  first  inhabitants  of  the  earth 
took  refuge  in  caves  or  under  interlaced  boughs,  they 
were  clothed  in  coarse  cloths  or  skins,  and  that  when 
the  first  hut  was  built,  they  were  comparatively  well 
dressed."  It  may  have  been  that  primitive  man  by 
watching  the  birds  build  their  nests  conceived  the 
idea  of  weaving,  and  that  skins  were  embroidered 
with  colored  stones,  stitches  of  grasses,  or  colored 
leaves.  Thus,  perhaps,  embroidery  was  known  before 
weaving. 

At  a  really  prehistoric  date,  man  learned  to  weave 

[4] 


PLATE  I. — Examples  of  Early  Egyptian  Costumes 


HISTOKY  OF  TEXTILES 

textiles  from  flax,  hemp,  broom,  leaves,  strands  of 
plants,  grasses,  fibrous  coatings,  intestines  of  ani- 
mals, sheep's  wool,  goat's  hair,  from  silver  and  gold 
wire,  and  even  from  gold  leaf.  In  the  colder  regions, 
after  the  process  of  weaving  or  fulling  had  been  dis- 
covered, goat's  hair  and  sheep's  wool  were  used 
principally.  A  fish  bone  or  a  thorn  was  employed  to 
sew  the  garments  together.  In  the  warm  countries, 
greater  attention  was  given  to  the  weaving  of  linen, 
silk,  and  cotton  fabrics. 

LINEN  AND  WOOL 

Linen  perhaps  was  the  first  textile  to  be  manufac- 
tured. It  was  made  by  the  Indians  and  Egyptians  as 
early  as  2800  B.  C.  In  fact,  it  is  hard  to  determine 
whether  textiles  had  their  origin  in  Egypt  or  in  the 
Orient.  The  tombs  of  Egypt  of  2800  B.  C.  illustrate 
weavers  at  work.  The  Japanese  understood  the  weav- 
ing of  linen,  gold,  silver,  and  silk  into  rare  papers, 
while  the  Europeans  were  still  writing  on  pieces  of 
bark;  and  as  civilization  spread  from  East  to  West, 
the  ways  of  spinning  and  weaving  were  passed  on 
to  Europe,  to  Italy  and  Spain,  to  France,  then  to 
Germany,  and  finally  to  England. 

It  was  from  India  that  the  knowledge  of  block 
printing  came  to  Europe.  By  sea  it  came  direct  to 
France  from  one  of  her  colonies.  By  land  it  came 
through  Persia,  Asia  Minor,  and  the  Levant.  Speci- 
mens of  early  stuffs  colored  in  this  way  are  obtained 
from  ancient  cemeteries  in  Upper  Egypt.  There  are 

[5] 


TEXTILES  AND  COSTUME  DESIGN 

pictures  of  similar  textiles  to  be  found  on  the  walls 
of  the  Temple  of  Beni  Hassan,  built  2100  B.  C.,  and 
Egyptian  and  Syrian  monuments  of  2400  B.  C.  show 
wall  pictures  of  the  manufacture  of  rugs  and  fabrics. 
Also,  pictures  of  looms  indicate  that  drawn-work  and 
nettings  were  of  prehistoric  origin. 

The  Egyptians  used  wool,  hemp,  or  flax  for  these 
early  woven  stuffs.  In  400  A.  D.  were  woven  Egyp- 
tian and  Eoman  tapestries.  In  600  A.  D.  northern 
Egypt  and  Sicily  were  manufacturing  silks.  The 
Greeks  were  unacquainted  with  cotton  until  it  came 
from  India,  and  not  until  the  time  of  Alexander  the 
Great  was  it  known  in  Europe. 

Besides  linen  mummy  cloths,  woven  a  thousand 
years  before  Christ,  there  were  also  those  made  of 
woolen  stuffs.  Furthermore,  cloth  of  gold  tissue,  of 
which  we  read  in  the  Bible,  was  being  made  before 
the  time  of  Moses.  It  was  crudely  wrought  by  pound- 
ing or  flattening  the  gold  into  linen  or  cotton  cloths 
by  means  of  wooden  mallets ;  and  because  the  Egyp- 
tians, unlike  the  Orientals,  did  not  know  of  gold  wire, 
they  used  the  softest  gold  leaf  in  the  making  of  these 
wonderful  mummy  cloths. 

Rugs  were  first  woven  by  the  Assyrians,  but  if  the 
Babylonians  and  Egyptians  had  not  discovered  and 
appreciated  the  art,  and  if,  later,  the  Greeks  and 
Eomans  had  not  softened  the  walls  and  floors  of  their 
sumptuous  palaces  with  these  textiles,  it  is  doubtful 
whether  we  should  now  know  of  the  Oriental  rug. 
Pliny  speaks  of  the  superior  skill  of  the  Assyrians  in 
the  weaving  and  in  the  color  blending  of  rugs ;  Homer 

[6] 


H 

5^  H 

*  §  s 
3  3  T 

10  ^ 


I-  I 


2  o-   H- 

lii 


HISTOEY  OF  TEXTILES 

and  Herodotus  tell  of  the  weavers  of  the  far  East; 
and  the  Bible  refers  many  times  to  the  rug  and  its 
uses.  The  Persian  rug  of  to-day  is  a  later  example  of 
rug  weaving  and,  with  its  myriads  of  deftly  tied 
knots,  bears  testimony  to  unhurried  and  careful  work- 
manship. The  Oriental  rug  was  first  made  for  reli- 
gious purposes,  and  later  to  take  the  place  of  wall 
decorations.  The  designs  and  patterns,  therefore, 
were  symbolic  to  the  possessor  and  a  constant  re- 
minder of  his  religion. 

In  Europe  the  weaving  of  wool  reached  its  per- 
fection, during  the  tenth  century,  in  Flanders.  In 
1066  the  Angles  and  Saxons  were  weaving  wool,  and 
the  manufacture  became  .extensive  in  1331,  in  the 
reign  of  Edward  III.  Toward  her  colonies,  however, 
England  maintained  a  policy  intended  to  repress  any 
manufacture  of  woolen  goods  and  all  known  textiles, 
although  a  report  of  Alexander  Hamilton  in  1791 
mentions  a  mill  for  the  manufacture  of  cloths  and 
cassimeres  in  operation  at  Hartford,  Connecticut. 

SILK 

Silk,  after  linen,  was  the  next  industry  of  the  tex- 
tile trade  to  be  developed.  Five  thousand  years  ago 
it  was  being  made  in  southern  China,  and  it  was  only 
a  hundred  years  later  that  the  secret  of  its  making 
was  spreading  across  to  the  East  and  finally  to  Eu- 
rope. Aristotle  speaks  of  silk  as  being  brought  over 
from  China  through  India  to  a  small  commercial 
colony  in  Asia  Minor,  and  there  is  also  the  old  story 

[7] 


TEXTILES  AND  COSTUME  DESIGN 

of  the  Greek  monks  who  returned  from  China  car- 
rying a  goodly  number  of  silkworms  hidden  in  their 
stays.  Although  the  Bible  seldom  mentions  silk,  and 
then  as  being  rare  and  costly,  when  Solomon's  temple 
was  built,  the  altar  cloths  and  the  priests '  robes  were 
woven  of  strands  of  silk  and  set  with  precious  stones. 
It  is  known  that  silk  was  woven  in  Constantinople, 
Corinth,  and  Thebes  1000  B.  C^  and  the  Orient  was 
famous  for  its  fabric  creations  as  late  as  1400  A.  D. 
Then  European  weavers  began  to  copy  Asiatic  weav^" 
ings  and  designs.  In  the  fifth  century  Constantinople, 
then  known  as  Byzantium,  was  celebrated  as  the 
eastern  seat  of  European  silk  cultivation.  Incident- 
ally, it  is  interesting  to  note  that  in  900  A.  D.  the 
history  of  lace  began. 

Silk,  then,  was  commonly  woven  in  China,  but  not 
until  500  A.  D.,  in  the  time  of  Justinian,  was  it  woven 
in  Europe.  It  is  recorded,  800  A.  D.,  that  the  daughter 
of  Charlemagne  was  taught  to  weave  silk,  and  in 
1000  A.  D.  that  Koger  Guiscard  started  a  silk  fac- 
tory at  Palermo,  employing  Theban  and  Corinthian 
weavers,  and  Palermo  became  the  greatest  silk  man- 
ufacturing city  in  the  world.  Just  after  this  time  many 
Italian  towns:  Florence,  Venice,  Genoa,  and  Milan, 
began  manufacturing  silk,  and  many  Saracen  and 
Greek  silk  weavers  started  weaving  in  the  German 
Netherlands  and  Great  Britain. 

It  was  not  until  1174,  at  the  time  of  the  Second 
Crusade,  that  the  cultivation  of  the  silkworm  was 
started  in  Italy  and  France.  Moreover,  two  centuries 
elapsed  before  any  real  development  was  made  in 

[8] 


HISTOBY  OF  TEXTILES 

silk  manufacture  there,  although  at  the  present  time 
Europe  produces  one  hundred  and  fifty  million  pounds 
ofcocoons  annually,  and  Italy  and  France  carries  the 
largest  proportion  of  that  amount.  These  countries 
of  Europe  have  always  been  the  homes  of  the  finest 
weavers  of  silk,  velvet,  lace,  and  tapestry. 

TAPESTRY 

The  weaving  of  tapestry  was  known  early  in  civi- 
lization, dating  back  to  the  Egyptian  period.  Perhaps 
it  was  borrowed  from  the  Orientals.  In  Europe  it  was 
first  practiced  toward  the  end  of  the  twelfth  century 
in  Flanders,  where  it  flourished  in  the  rich  and  pros- 
perous town  of  Arras  (whence  the  name  of  "  arras " 
applied  to  tapestry).  Flemish  weavers  began  to  man- 
ufacture wool  tapestries  at  Arras,  Lille,  and  Brus- 
sels in  1477.  In  Europe,  tapestries  were  first  made 
in  the  monasteries  and  were  used  merely  for  covering 
church  walls,  altars,  and  seats.  In  France,  tapestry 
manufacture  began  in  1466  at  Lyons.  Later  factories 
were  established  by  the  kings  for  this  manufacture. 
The  Gobelin  factory,  for  instance,  was  started  in 
1539  by  Francis  I,  and  here  artists,  such  as  Eafael, 
made  designs  for  the  tapestries.  In  1619  this  factory 
became  the  royal  property  of  France. 

In  the  twelfth  century,  the  weaving  of  church  vest- 
ments was  an  important  industry,  although  the 
Germans  were  far  behind  in  other  kinds  of  weaving, 
Cologne  was  famous  for  her  ecclesiastical  textiles 
known  as  Orphrey  Web.  With  this  exception,  Ger- 

[9] 


TEXTILES  AND  COSTUME  DESIGN 

man  designs  were  heavier  and  their  cloths  coarser 
than  those  of  the  French. 

In  1480  needlepoint  lace  work  began  in  Italy.  In 
1500  Italy  manufactured  cloths  of  silk,  satin,  damask, 
and  plain  and  cut  velvets.  In  1500  England  tried,  but 
failed,  to  manufacture  satins,  damasks,  velvets,  and 
cloth  of  gold. 

In  1690  the  Beauvais  tapestry  works  were  estab- 
lished in  France;  and  in  1750^.  D.  silk  weaving  was 
begun  in  England,  and  large  amounts  of  Chinese  and 
Indian  silks  were  used  there.  Not  until  1800  did  Aus- 
tria begin  silk  manufacture. 

In  1531  Cortez  brought  silk  to  Mexico,  whence  it 
finally  came  to  the  United  States,  where  its  produc- 
tion was  slow  at  first.  In  1619  it  was  cultivated  in 
Virginia  and  it  thrived  moderately  until  1666,  when 
it  proved  a  complete  failure.  In  1732  it  was  raised  in 
Georgia,  but  here,  too,  it  was  a  failure.  In  1736  South 
Carolina  started  the  industry,  and  it  was  fairly  well 
established  when  the  Eevolution  came  to  disturb  all 
industry.  It  was  not  until  1829  that  a  mill,  which  was 
to  flourish  and  endure,  was  established  at  Mansfield, 
Connecticut.  Despite  this  tardiness,  however,  silk 
cultivation  is  now  a  permanent  and  ever  growing  in- 
dustry in  the  United  States,  as  is  the  manufacture  of 
cotton  and  linen  cloths. 

Thus  from  all  these  countries,  American  textile 
manufacturing  has  developed  into  a  more  or  less 
modified  and  almost  always  ugly  type  of  machine- 
made  fabrics.  The  good  color  and  simple  designs  of 
the  homespun  clothes,  counterpanes,  and  samplers  of 

[10] 


HISTORY  OF  TEXTILES 

our  grandmothers  of  colonial  times,  are  most  excel- 
lent hand- wrought  examples  of  the  American  textile ; 
and  to-day  perhaps  the  best  textile  weavings  are 
dyed,  designed,  copied,  and  woven  by  individual 
weavers,  arts  and  crafts  societies,  and  by  certain  in- 
terior decorating  shops  of  New  York,  which  have 
imported  French  weavers,  and  their  dyes,  their  looms, 
and  methods.  Pamphlets  of  the  chemical  properties 
of  dyes  and  cloths  and  tests  for  textiles,  may  be  ob- 
tained upon  request  from  the  Home  Economics  de- 
partments of  American  colleges  and  universities. 

It  is  certain  that  the  demand  for  better  American 
textiles  will  force  the  manufacturers  and  dye  makers 
to  produce  more  worthy  designs,  fabrics,  and  dyes. 


[in 


HISTORY  OF  COSTUME 

'  I  ^HIS  chapter  describes  the  costume  of  the  Egyp- 
tians, Greeks,  and  Eomans,  and  briefly  sketches 
the  development  of  costume  in  France.  No  ref- 
erences are  made  to  historical  events  of  the  Egyp- 
tians, Greeks,  and  Eomans,  because  the  costumes 
changed  so  little  that  such  reference  would  scarcely 
be  a  help  in  placing  period  styles.  In  the  description 
of  the  costumes  of  the  French,  however,  from  the 
Merovingians  up  to  the  present  time,  a  brief  outline 
is  given,  since  frequently  a  costume  is  placed  by 
calling  it  Empire,  Eevolution,  Louis  XVI,  or  Di- 
rectoire. 

The  important  points  to  remember  in  the  different 
costumes  are: 

1.  Silhouette,  i.  e.,  bustle,  hoop. 

2.  Texture,  i.  e.,  satin,  taffeta. 

3.  Details,  i.  e.,  accessories. 

The  books  used  in  reference  are : 

FEEDEEICK  HOTTENEOTH,  Le  Costume. 

JOHN  BEAT,  All  About  Dress. 

CHALLEMEL,  History  of  Fashion  in  France. 

M.  JULES  QUICHEEAT,  Histoire  du  Costume  en 
France. 

PAUL  LACEOIX,  Manners,  Customs  and  Dress  Dur- 
ing the  Middle  Ages. 

[12] 


I 


WH 

11 


r 


HISTORY  OF  COSTUME 

Guide  to  Egyptian  Collection  in  the  British  Mu- 
seum. 

Guide  to  the  Greek  and  Roman  Collection  in  the 
British  Museum. 

FLINDERS  PETRIE,  Arts  and  Crafts  of  Ancient 
Egypt. 

PAQTJET  FRERES,  Costumes. 

In  his  longing  for  adornment,  primitive  man, first 
decorated  his  body  with  the  stains  of  berries  and 
leaves,  painting  designs  much  like  those  on  the  tat- 
tooed man  of  to-day.  In  his  need  for  protection,  he 
first  covered  his  body  with  leaves — with  the  fig  leaf 
of  popular  tradition — and  then  with  knotted  grasses 
and  with  skins.  But  it  was  not  long  before  he  dis- 
covered that  these  materials  which  he  had  been  using 
in  their  natural  state  could  be  made  more  durable  and 
convenient  by  a  process  of  intercrossing  or  weaving. 
His  first  real  garment,  then,  was  the  loin  cloth  made 
of  coarse  fibrous  stuff  or  linen.  Above  it  was  added 
a  girdle  or  belt,  to  which  was  suspended  the  tail  of 
some  animal — a  trophy  of  the  chase,  or  later  an  imi- 
tation made  of  leather.  This  custom  still  prevails 
among  African  people. 

In  the  northern  and  colder  countries  a  close-fitting 
leather  jacket  was  evolved,  since,  from  the  custom  of 
throwing  over  the  shoulder  the  skins  of  animals  killed 
in  the  hunt,  the  protective  value  of  such  a  garment 
was  discovered.  In  the  southern  countries  a  loose 
flowing  dress  of  cotton  or  linen  prevailed.  In  all  coun- 
tries the  evolution  of  costume  has  been  the  same  in 

[13] 


TEXTILES  AND  COSTUME  DESIGN 

essential  respects,  from  the  wearing  of  leaves,  through 
various  stages  to  the  present  time.  The  modifications 
have  been  brought  about  by  the  fundamental  influ- 
ences of  climate  and  of  the  national,  geographic,  and 
social  characteristics  of  the  people. 

EGYPTIAN 

Our  first  fashion  plates  are  to  be  found  on  the 
ancient  walls  and  tombs  of  Egypt.  They  show  that 
costume  developed  from  the  loin  cloth  into  a  sort  of 
skirt,  which  varied  in  length  and  folds,  and  then  into 
a  sort  of  triangular  kilt  which  projected  in  a  peak 
just  above  the  knees.  Later  both  men  and  women 
wore  over  this  skirt  a  loose  flowing  garment  reaching 
from  the  neck  to  the  feet.  The  material  at  first  was 
a  coarse  linen  stuff,  but  in  the  luxurious  period  of 
the  eighteenth  and  nineteenth  dynasties  the  upper 
classes  were  wearing  linen  of  the  finest  texture.  Their 
apparel  was  very  voluminous;  the  outer  skirt  was 
looped,  girdled,  and  draped.  This,  in  fact,  was  the 
beginning  of  draperies,  panels,  ornamented  aprons, 
and  girdles. 

The  burning  winds  of  Egypt  made  the  use  of  un- 
guents an  absolute  necessity.  Strong-scented  woods 
and  herbs  were  pounded  and  mixed  with  oils  and 
rubbed  into  the  body,  while  scents  were,  just  as  at 
the  present  time,  in  great  demand.  The  cone,  or  large 
head-covering  worn  by  men  and  women,  very  fre- 
quently contained  a  ball  saturated  with  oil  or  pomade 
which  slowly  ran  into  the  hair  and  spread  over  the 

[14] 


HISTORY  OF  COSTUME 

head  and  shoulders,  causing  a  pleasing  sensation  to 
the  wearer.  Sometimes,  also,  the  cone  had  a  lotus 
flower  or  lily  attached  to  it.  In  fact,  the  lotus  flower, 
lily,  asp,  and  such  symbols  were  habitually  used  for 
costume  ornamentation,  in  soft  primitive  colors 
which  might  well  be  adopted  in  the  present  day.  Men 
and  women  often  decorated  their  bodies  with  tattoo 
markings,  which  betokened  their  religious  or  tribal 
order. 

Both  men  and  women  wore  heavy  full  wigs,  al- 
though the  women  often  plaited  their  hair.  Eings, 
anklets,  bracelets,  armlets,  necklaces,  and  earrings 
were  worn.  The  precious  stones  used  in  the  jewelry 
were  believed  to  possess  magical  powers,  giving  luck, 
long  life,  and  health  to  the  wearer.  Sandals  were 
made  of  papyrus  and  palm  fibers  neatly  woven  or 
plaited,  or  were  made  of  goat  or  gazelle  skin  tanned 
and  stained  a  pink  color. 


GRECIAN 

The  dress  of  the  Greeks  was  very  simple.  There 
was  one  type  of  garment  which  in  difference  of  size 
and  arrangement  developed  into  many  forms:  the 
chiton,  or  tunic,  and  the  himation,  or  mantle.  The 
Dorian  chiton  seems  to  have  been  worn  first.  It  was 
a  rectangular  piece  of  cloth  measuring  more  than  the 
height  of  the  wearer  and  twice  the  span  of  the  arms. 
It  was  folded  and  draped  on  the  left  shoulder,  where 
it  was  fastened  first  by  thorns,  then  by  pins,  and 

[15] 


TEXTILES  AND  COSTUME  DESIGN" 

finally  by  buttons.  A  girdle  was  sometimes  used  to 
keep  the  two  edges  together,  and  when  such  a  girdle 
was  worn  the  dress  was  pulled  up,  forming  a  sort  of 
blouse.  This  Dorian  form  of  dress  was  superseded 
by  the  Ionian  chiton,  which  was  of  thin  material 
without  the  overlap  and  sewed  up  the  side.  This  be- 
came the  under-garment  of  the  women.  The  top  gar- 
ment was  the  Dorian  chiton,  unless  the  himation,  or 
mantle,  was  worn  draped  over  the  under-dress.  The 
himation  varied  in  size  but  was  always  rectangular 
in  shape. 

In  early  times  a  similar  dress  was  worn  by  the 
men.  Later  the  long  tunic  was  discarded  and  either 
a  short  form  of  the  same  garment  was  adopted  or 
the  outer  cloak  was  worn  alone,  often  fastened  on 
one  shoulder.  Men  of  high  rank  affected  a  very  elab- 
orate arrangement  of  the  himation  by  which  the 
whole  body  was  enveloped  in  folds. 

The  cloth  generally  used  in  the  early  Greek  dress 
was  a  white  cotton  stuff.  Later  it  was  dyed  many 
colors,  and  the  robes  of  the  upper  classes  were  most 
frequently  of  purple  trimmed  with  a  band  of  white 
or  gold. 

The  men  wore  their  hair  long,  bound  with  bands 
of  metal  or  cloth.  The  women  arranged  theirs  in  a 
single  knot  at  the  back  of  the  head,  adorned  with 
flowers,  ribbons,  diadems,  fillets,  and  jeweled  orna- 
ments of  gold  or  silver.  For  head-covering  the  Greeks 
used  the  loose  ends  of  their  mantles,  and  it  seems 
to  have  been  the  custom  of  the  women  to  cover  their 
faces  when  appearing  in  public.  Travelers  sometimes 

[16] 


HISTORY  OF  COSTUME 

wore  a  hat  with  a  raised  crown.  Sailors  and  workmen 
wore  a  conical  felt  hat. 

The  first  foot-coverings  for  both  men  and  women 
were  bindings  of  cloth.  Later  a  sole  was  attached, 
making  a  sandal,  and  finally  a  heel  was  added  to  the 
sandal,  which  was  then  called  a  buskin.  The  upper 
part  reached  up  the  leg  and  was  fastened  under  the 
knee  with  cords  or  ribbon.  A  little  later  the  sandals, 
which  were  first  made  of  cloth,  then  of  skins,  were 
richly  ornamented  with  embroidery,  gold,  silver,  and 
precious  stones.  There  are  some  such  sandals  in  the 
British  Museum,  made  of  wood  and  shod  with  bronze 
plates  held  in  place  by  iron  nails.  In  other  ancient 
sandals,  hobnails  in  the  soles  were  so  arranged  as 
to  impress  a  word  or  symbol  on  the  ground. 

It  has  been  thought  that  gloves  were  unknown  to 
the  ancients,  but  they  are  mentioned  by  Homer,  and 
pictures  of  early  Greek  and  Eoman  soldiers  show 
gauntlets  made  of  skins  and  embroidered  cloths. 

ROMAN 

Eoman  costume  was  adopted  from  the  Greek  and 
was  practically  the  same.  The  under-garment  of  the 
Eoman  woman  was  the  Ionian  chiton,  or  tunic ;  and 
the  over-mantle  was  the  Greek  himation,  called  palla 
or  stola. 

For  men  there  was  a  tunic  similar  to  that  worn  by 
the  Greek,  but  in  place  of  the  himation,  the  Eoman 
wore  a  toga.  Its  shape  was  semi-circular,  the  straight 
edge  being  about  six  yards  long  and  the  width  in  the 

[17] 


TEXTILES  AND  COSTUME  DESIGN 

middle  about  two  yards.  One  end  was  placed  on  the 
left  shoulder  with  the  straight  edge  nearest  the  center 
of  the  body  and  the  point  nearly  touching  the  ground. 
The  curved  edge  covered  the  left  hand.  The  rest  was 
then  passed  behind  the  back  over  or  under  the  right 
arm  and  again  over  the  left  shoulder,  the  point 
hanging  behind  almost  to  the  ground.  This  toga  was 
the  badge  of  Eoman  nationality  and  was  made  of  fine 
linen,  cotton,  or  silk.  Except  when  worn  by  men  of 
rank  or  high  office,  who  might  adopt  purple,  gold,  or 
yellow,  its  color  was  universally  white.  Since  purple 
was  considered  to  be  the  royal  shade,  free-born  chil- 
dren and  the  higher  magistrates  were  distinguished 
by  a  purple  stripe  on  their  togas.  In  mourning  this 
stripe  was  concealed.  Those  who  boasted  no  stripe 
wore  a  dark  colored  toga  for  mourning. 

Although  the  Eoman  head-covering  was  similar 
to  the  Greek,  there  was  a  distinctive  national  foot- 
covering.  A  leather  boot,  reaching  above  the  ankle, 
was  bound  with  leather  thongs,  the  number  and  ar- 
rangement of  the  thongs  denoting  the  rank  of  the 
wearer.  This  boot,  called  the  calceus,  was  always 
worn  with  the  toga.  The  caliga,  on  the  contrary,  was 
a  boot  for  military  use,  and  it  was  bound  up  the  legs. 
In  the  home,  the  most  common  foot  covering  was  a 
sandal  laced  on  the  instep. 


[18] 


HISTOBY  OF  COSTUME 

MEROVINGIAN  PERIOD 
452-490 

HISTORY 

The  Eoman  Empire  in  the  West  was  broken  up  in 
476  A.  D.  Then  the  Franks,  Vandals,  and  Goths  ruled. 
Clovis  killed  Eoman  influence,  founded  the  Frankish 
power,  and  made  Paris  his  capital.  After  his  death, 
his  kingdom  was  divided  among  his  four  sons.  The 
Merovingians  became  weak  and  were  succeeded  by 
Duke  Pepin  in  751. 

DRESS 

During  the  first  part  of  the  Merovingian  period, 
both  men  and  women  wore  the  skins  of  animals,  then 
felt,  and  short-sleeved  mantles  of  camels  hair  or  silk 
dyed  red.  The  women  wore  a  sort  of  cape  consist- 
ing of  a  piece  of  material  circular  in  shape  with  an 
aperture  for  the  head  and  slits  for  the  arms.  This 
garment  was  held  in  place  by  a  girdle  around 
the  loins.  The  women  also  wore  a  wrap  which  was 
wound  around  the  body  and  fastened  over  the  right 
shoulder. 

A  picture  of  Queen  Clotilde  shows  a  tunic  confined 
at  the  waist  by  a  band  of  some  precious  material,  and 
her  hair  falling  in  long  plaits.  This  method  of  wearing 
the  hair  was  distinctly  a  Merovingian  custom,  for 
the  Romans  never  allowed  their  hair  to  hang.  The 
Frankish  men,  also,  wore  their  hair  long  as  a  sign 

[19] 


TEXTILES  AND  COSTUME  DESIGtf 

of  rank.  Women  frequently  covered  their  heads  with 
a  fine  cloth  held  in  place  by  a  sort  of  crown. 

CARLOVINGIAN  PERIOD 
752-888 

HISTOEY 

752— Pepin  the  Short,  first  ruler  of  the  Carlo- 
vingians. 

768 — Eule  of  Charlemagne,  who  founded  the  new 
Empire  of  the  West  and  was  crowned  by 
the  Pope. 

814 — Death  of  Charlemagne. 

Succession  of  Louis  I  (The  Pious). 

817 — Lothair  becomes  co-ruler. 

840 — Lothair  becomes  Emperor. 

841 — Lothair  is  defeated  by  his  brothers  Louis  and 
Charles. 

843 — Treaty  of  Verdun.  A  division  of  the  territory 
gives  France  to  Charles  the  Bold. 

877 — Louis  (The  Stammerer)  becomes  King. 

879 — Louis  III  and  Carloman  reign  jointly. 

884— Charles  (The  Fat)  reunites  the  Frankish  do- 
minions. 

DEESS 

With  the  exception  of  a  greater  luxury  in  appoint- 
ments and  decoration,  there  was  little  change  in  the 
dress  of  this  period.  The  most  elegant  costume  con- 
sisted of  two  tunics  of  different  colors:  one  with 

[20] 


HISTORY  OF  COSTUME 

tight,  and  the  other  with  flowing,  sleeves.  The  neck, 
the  sleeves,  and  the  hem  of  the  skirt  were  bordered 
with  bands  of  embroidery.  A  waist-band,  made  usually 
of  gold  set  with  precious  stones,  was  placed  just 
above  the  hips. 

The  men  wore  inner-garments  of  linen  and  outer- 
garments  of  wool  bound  with  silk.  For  everyday  use 
their  mantles  were  short,  but  for  ceremony  they  were 
long  and  voluminous  and  many-colored. 

Charlemagne,  whose  tastes  seem  to  have  been 
very  simple,  fought  constantly  against  the  growing 
extravagance  and  splendor.  He  finally  issued  edicts 
against  the  too  luxurious  dress  and  customs  of  his 
time. 

FEUDAL  PERIOD 
888-1090 

HISTOEY 

898— Charles  III  (The  Simple)  succeeds. 

911 — The  Northmen  under  Eollo  establish  them- 
selves in  Normandy. 
The  feudal  system  is  installed. 

929 — Charles  III  dies.  Eudolph  reigns. 

936 — Louis  IV  becomes  King. 

954 — Lothair  succeeds. 

986— Louis  V  (The  Slothful)  becomes  King. 

987 — Hugh  Capet  becomes  King.  He  is  the  founder 
of  the  Capetian  line  of  kings. 

996— Robert  II  (The  Wise)  succeeds. 

[21] 


TEXTILES  AND  COSTUME  DESIGN 

1031 — Henry  I  becomes  King. 
1060— Philip  I  becomes  King. 

1066 — William  of  Normandy  claims  the  crown  of 
England  and  makes  war  on  Harold  to 
obtain  it. 

DRESS 

Some  of  the  costumes  of  the  women  of  the  tenth 
century  were  tightly  fitted,  revealing  the  lines  of  the 
figure ;  others  were  flowing  and  so  high  as  completely 
to  cover  the  neck.  The  latter  kind  was  called  a  "cot- 
teshardie."  This  garment,  a  long  tunic  fastened  at 
the  waist  and  closed  at  the  wrists,  has  always  been  a 
favorite  French  costume.  It  was  also  worn  by  men. 
Over  it  ladies  of  the  nobility  wore  a  long  coat  or 
another  tunic  without  sleeves.  Invariably  they  wore 
a  long  veil  and  dressed  their  hair  with  utmost  sim- 
plicity. The  nobles  wore  ermine-lined  cloaks  and 
tunics,  often  two  tunics,  an  outer  one  of  veiling  or 
drapery  thrown  over  the  head  and  hanging  down 
over  the  shoulders. 

THE  MIDDLE  AGES 
1090-1610 

HISTOEY 

Period  of  the  Crusades. 

Reign  of  the  Capets  from  Louis  VI  (The  Great)  to 
the  death  of  Charles  IV  in  1322. 

[22] 


HISTOKY  OF  COSTUME 

Reign  of  the  Valois  kings,  beginning  1328,  ending 
with  the  establishment  of  the  Bourbon  Monarchy 
in  1610. 

Union  with  the  House  of  Medici  by  marriage  of 
Henry  II  to  Catherine  de  Medici  in  1547. 

Power  of  the  House  of  Guise. 

DBESS 

During  the  early  part  of  this  period  there  appeared 
a  tendency  toward  over-elaboration  of  dress.  The 
women  wore  long  tight-fitting  robes  with  a  deco- 
rated band  forming  a  sort  of  necklace  and  with  long 
narrow  sleeves.  Their  wraps  were  long  also,  and 
were  made  with  large  hoods  on  which  could  be  draped 
a  flowing  veil.  The  accessories  of  feminine  dress  had 
multiplied  rapidly  and  included  purses,  hats,  fancy 
head-dresses,  and  finally  external  corsets,  made  of 
fur  or  silk  and  worn  winter  and  summer.  The  former 
simple  style  of  dressing  the  hair  in  two  thick  plaits 
was  displaced  by  all  kinds  of  fantastic  coiffures.  At 
the  end  of  the  period,  women  wore  rolls  on  the  tops 
of  their  heads  measuring  two  feet  in  height.  Trains 
made  a  first  appearance  and  were  worn  until  the 
Council  of  Montpelier  forbade  their  use  because  they 
were  thought  to  suggest  serpents. 

Men's  costume  consisted  of  breeches,  stockings, 
shoes,  coat,  surcoat,  and  a  chaperon,  or  head  covering. 
Toward  the  end  of  the  period  the  breeches  shortened 
to  doublets,  and  all  garments  had  become  so  tight 
that  two  assistants  were  required  for  dressing  and 

[23] 


TEXTILES  AND  COSTITME  DESIGN 

undressing.  Great  extravagance  was  shown  in  the 
jeweled  belts,  while  the  points  on  the  shoes,  or  pou- 
laines,  were  so  long  that  they  were  held  up  by  cords 
or  gold  chains  which  were  fastened  to  the  belt.  An- 
other masculine  eccentricity  was  the  length  of  the 
sleeves.  These  often  touched  the  ground,  as  may  be 
seen  in  the  pictures  of  clowns  and  nobles  of  this 
period. 

EARLY  BOURBON  MONARCHY 
1589-1642 

HISTOBY 

1589-1610— Eeign  of  Henry  IV. 

1598 — Edict  of  Nantes,  granting  toleration  to  the 

Protestants. 
1600 — Henry  IV  marries  Marie  de  Medici. 

1610 — Assassination  of  Henry  IV  by  Eavaillac. 
Eeign  of  Louis  XIII. 
Period  of  Eichelieu. 

DKESS 

Present  fashions  may  be  said  to  have  originated  in 
this  period,  because  during  it  men  and  women  adopted 
clothes  fitting  the  body.  Ladies  wore  full  skirts,  tight 
at  the  waist  and  panniered  in  front,  over  a  very  rich 
under-petticoat.  Fullness  at  the  hips  was  held  out 
by  means  of  large  padded  rolls,  which  developed  into 
the  vertugadin,  an  arrangement  of  whalebone  and 
steel,  which  in  turn  became  panniers.  The  large  ruff 

[24] 


HISTOKY  OF  COSTUME 

worn  at  the  neck  was  introduced  by  Catherine  de 
Medici. 

Men  wore  overcoats  with  tight  sleeves,  felt  hats 
with  more  or  less  wide  brims,  and  closed  shoes  and 
boots.  The  coats  were  short,  tight  fitting,  and  pointed 
in  front.  The  trunk  hose  were  tight,  but  around  the 
waist  they  were  puffed  out  and  slashed.  The  men, 
as  well  as  the  women,  wore  the  de  Medici  ruff. 


LOUIS  XIV 
1643-1715 

HISTORY 

1643-1685— Eeign  of  Louis  XIV. 

1660 — Louis  XIV  marries  Marie  Theresa. 

War  with  Spain. 
1713— Peace  of  Utrecht. 

DRESS 

In  Louis  XIV  's  gorgeous  court,  every  phase  of 
life  was  exaggerated.  With  this  in  mind,  it  is  not  dif- 
ficult to  understand  the  exaggeration  in  dress. 

The  dresses  of  the  women  were  very  complicated 
in  cut  and  were  draped,  trimmed,  and  upholstered 
at  every  conceivable  place.  Besides  lace,  which  was 
just  at  its  height  of  popularity,  knots  of  ribbon,  tufts 
of  chenille,  and  buttons  were  used  in  profusion.  The 
materials  from  which  dresses  were  made  were  in 
themselves  elaborate.  Satins  brocaded  in  gold,  mus- 

[25] 


TEXTILES  AND  COSTUME  DESIGN 

lins  with  painted  flowers,  and  silver  and  gold  gauzes 
were  used. 

One  of  the  fashions  was  the  draped  bustle,  of  the 
same  shape  which  returned  in  1885.  Another  was  the 
use  of  the  vertugadins  or  panniers,  which  were  so 
large  on  the  sides  that  they  looked  like  poultry  bas- 
kets. Tight  stays,  injurious  to  the  health,  were  adopted 
also,  and  to  conceal  the  discomfort  occasioned  by 
them  fans  were  in  constant  use.  These  were  beauti- 
fully painted  and  mounted  in  wood,  mother-of-pearl, 
ivory,  steel,  or  gold.  The  feminine  head-dress  of  the 
time  is  worthy  of  comment.  It  consisted  of  a  frame- 
work of  wire,  a  half -yard  in  height,  divided  into  tiers, 
and  covered  with  bands  of  muslin,  ribbon,  chenille, 
pearls,  and  aigrettes. 

Men's  costumes  were  as  extravagant  as  were 
women's.  The  elaborately  trimmed  coats  had  a  skirt 
effect  reaching  to  the  knees  and  held  out  by  panniers 
of  steel  and  whalebone.  Men  wore  their  hair  long, 
curled,  and  beribonned,  and  their  hats  were  trimmed 
with  plumes  and  fur.  They  carried  muffs,  fans,  and 
canes. 

It  is  interesting  to  note  that  gloves  of  kid  and 
netted  silk  were  introduced  generally  at  this  time, 
whereas  formerly  they  had  been  of  leather,  badly 
shaped,  and  worn  only  by  men. 


[26] 


HISTORY  OF  COSTUME 

REIGNS  OF  LOUIS  XV  AND  LOUIS  XVI 
1715-1789 

HISTORY 

1715 — Louis  XV  succeeds.  Duke  of  Orleans  Regent. 

1723 — Louis  XV  assumes  government. 

1756_Seven  Years'  War. 

1763— Peace  of  Paris. 

1770 — Marriage  of  the  Dauphin  to  Marie  Antoin- 
ette. 

1774 — Louis  XVI  King;  Marie  Antoinette  Queen. 

1789 — French  Eevolution.  Bastile  stormed  July 
14th. 

DRESS 

Since  Louis  XV  placed  no  restriction  on  the  grow- 
ing extravagance  in  dress  and  there  resulted  a  grow- 
ing tendency  toward  fanciful  monstrosities  during 
the  reign  of  Louis  XVI. 

From  side  to  side  the  panniers  measured  six  feet, 
and  in  circumference  they  were  at  least  eight  feet. 
The  pompadour  was  the  approved  mode  of  head- 
dress. It  was  sometimes  two  feet  high.  It  was  Marie 
Antoinette,  however,  who  held  the  most  despotic 
sway  over  fashion.  It  is  said  that  she  created  a  new 
style  every  week,  giving  costumes  the  most  fantastic 
names. 

When  she  played  at  being  milk-maid  and  shep- 
herdess at  the  Trianon  her  whims  fortunately 

[27] 


TEXTILES  AND  COSTUME  DESIGN 

changed  and  costumes  and  coiffures  assumed  a  sim- 
plicity appropriate  to  her  play.  Their  charm  has  been 
exquisitely  portrayed  by  Watteau.  The  men's  cos- 
tumes were  like  those  in  the  time  of  Louis  XV,  though 
not  so  elaborately  trimmed  nor  so  exaggerated  in 
cut.  The  silhouette  of  all  costumes  at  the  end  of  this 
period  became  narrower  from  side  to  side,  the  bust 
and  bustle  being  exaggerated. 

REVOLUTION 
1789-1795 

HISTORY 

1789— French  Revolution ;  Bastile  stormed. 

1791— Death  of  Mirabeau. 

1793— Execution  of  Louis  XVI  and  Marie  Antoin- 
ette. Fall  and  death  of  Robespierre. 

1795 — Insurrection  suppressed  by  Napoleon  Bona- 
parte and  Barras. 

DRESS 

Simplicity  instead  of  extravagance  became  the 
keynote  of  fashion  in  this  period.  Men  wore  long 
trousers  of  dull  colors,  great  coats,  cutaways,  and 
dark  hats.  Their  clothes  were  untidy  and  fitted  badly. 
The  women  wore  simple  dresses,  short  waisted,  and 
with  a  kerchief  around  the  neck,  crossed  over  the 
bosom  and  knotted  at  the  waist  in  back.  Caps  were 
worn  "a  la  Charlotte  Corday"  and  "a  la  Bastile. " 
Small  bits  of  stone  from  the  Bastile  were  set  in  gold 
and  worn  as  necklaces. 

[28] 


HISTORY  OF  COSTUME 

DIRECTOIRE 
1795-1799 

HISTORY 

1795 — Insurrection  suppressed  by  Napoleon  and 
Barras.  Convention  succeeded  by  Direc- 
tory. 

1796— War  in  Italy. 

1798 — Bonaparte 's  expedition  to  Egypt.  French 
fleet  defeated  by  Nelson  at  Abukir. 

DRESS 

Fashion  was  revived  during  the  Directory.  Softer 
and  more  transparent  materials  were  used.  Imita- 
tion of  the  classic  Greek  dress  was  the  dominant  idea. 
Gowns  were  made  of  diaphanous  materials,  with  the 
skirts  trailing  and  trimmed  with  gimp  put  on  in 
Greek  pattern.  The  skirts  were  frequently  slit  from 
the  hem  to  the  waist  or  to  the  knee.  Women  cut  their 
hair  and  wore  wigs  dressed  in  Greek  style. 

Men  became  more  fastidious  in  their  costumes. 
Their  clothes  were  fitted  with  more  care  and  the  ap- 
pointments of  their  dress  were  more  refined.  The 
i '  Directoire ' '  coat  with  its  short  front  and  cutaway 
line  was  a  distinguished  one  and  a  marked  advance 
over  the  costume  of  the  preceding  period. 


[29] 


TEXTILES  AND  COSTUME  DESIGN 
EMPIRE 

1804-1814 

HISTOKY 

1804 — Bonaparte  crowned  as  Napoleon  I,  Em- 
peror. Josephine,  his  wife. 

1807 — War  with  Prussians  and  Kussians. 

1809— Peace  of  Vienna. 

1810 — Napoleon  marries  Marie  Louise. 

1811 — Birth  of  Emperor's  son;  created  King  of 
Eome. 

1812 — Eussian  campaign.  Moscow  burned. 

1813 — Napoleon  driven  back  to  the  Ehine. 

1814 — The  allies  enter  Paris.  Napoleon  abdicates. 

DRESS 

The  court  of  Napoleon  was  noted  for  its  bad  taste 
in  dress  as  well  as  in  manners.  Greek  fashions  pre- 
vailed and  short-waisted  Empire  styles.  Ladies' 
gowns  had  long  skirts  of  simple  lines,  but  the  waists 
were  too  short  and  too  low.  Hats  and  bonnets  were 
ugly,  large,  and  elaborately  trimmed.  Artificial  flow- 
ers were  used  a  great  deal.  In  fact,  this  whole 
period,  with  its  undue  pomp  and  ceremony,  was  an 
artificial  one. 


[30] 


00 

h— » 

o 


CD 


HISTOKY  OF  COSTUME 

RESTORATION 
1814-1848 

HISTOKY 

1814— Louis  XVIII  accepted  as  King.  House  of 
Bourbon  restored. 

1815 — Bonaparte  returns  from  Elba. 

Battle  of  Waterloo. 

Napoleon  banished  to  St.  Helena. 
1824— Charles  X. 
1829— Charles  X  abdicates. 
1830 — Louis-Philippe  made  King. 
1848 — Revolution  commences. 

Louis-Philippe  abdicates. 

Provisional  Government. 

Louis  Napoleon  Bonaparte  elected  Presi- 
dent. 

DKESS 

The  dress  at  the  beginning  of  this  period  was  very 
ugly.  The  shoulder  was  long,  the  sleeve  was  enor- 
mous, the  skirt  was  held  out  by  a  huge  hoop.  The 
figure  was  thrown  out  of  all  proportion.  Bonnets  of 
various  shapes  and  sizes  were  so  worn  as  to  show 
the  chignon,  held  at  the  back  of  the  head  with  a  huge 
comb.  The  front  of  the  hair  was  usually  parted,  and 
curls  were  arranged  at  each  side. 

[31] 


TEXTILES  AND  COSTUME  DESIGN- 
SECOND  REPUBLIC 
1848-1851 

HISTORY 

1848 — Louis  Napoleon  Bonaparte  elected  Presi- 
dent. 
1850 — Louis-Philippe  dies  in  England. 

1851 — Eevolution.  Louis  Napoleon  seizes  the  reins 
of  the  Government ;  dissolves  the  National 
Assembly;  constitutes  a  new  ministry; 
election  under  various  controlling  influ- 
ences makes  Napoleon  President  for  ten 
years. 

DEESS 

The  costumes  of  this  period  were  like  those  of  the 
preceding  one.  There  were  long  shoulder  lines,  small 
waists,  and  skirts  held  out  by  hoops.  Small  black  lace 
mantles  were  popular ;  also  black  velvet  bands  at  the 
throat  and  at  the  wrists.  Straw  bonnets  and  drawn 
bonnets  were  worn  for  several  years  beginning  with 
1850.  Drawn  bonnets  were  made  of  crepe,  tulle,  or 
horsehair,  with  bands  of  straw  sewed  on. 

SECOND  EMPIRE 
1852-1870 

HISTORY 

1852 — The  Senate  decrees  the  restoration  of  the 
Empire. 

[32] 


HISTOEY  OF  COSTUME 

1853 — Marriage  of  the  Emperor  and  Eugenie  de 
Monti  jo. 

1865 — Napoleon  meets  Bismarck;  consents  to 
Italo-Prussian  alliance  against  Austria. 

1869 — Great  increase  of  opposition  in  Assembly. 

1870 — Liberal  ministry  reformed. 

War  declared  against  Prussia. 

DEESS 

The  silhouette  changed  somewhat  in  this  period. 
Because  of  the  use  of  crinoline  and  the  hoop,  skirts 
were  made  fuller  around  the  bottom,  the  drapery 
being  carried  toward  the  back.  Every  gown  was 
made  with  a  long-waisted  basque  and  with  a  volum- 
inous train.  In  1859  there  was  a  rage  for  Zouave 
and  Turkish  jackets.  In  fact,  all  dress  accessories 
were  growing  in  importance.  The  fan,  parasol,  hand- 
kerchief, smelling  bottle,  shoes,  and  purse  were  given 
as  much  attention  as  the  gown. 

THIRD  REPUBLIC 
1870 

In  the  early  part  of  this  last  period,  the  dress  was 
still  bouffant,  the  drapery  especially  full  at  the  back. 
In  1873  it  had  become  very  complicated  and  much 
ornamented.  For  instance,  fifteen  or  twenty  flounces 
were  put  on  one  skirt.  A  dolman,  called ' '  the  Montene- 
grin," was  made  of  silk  and  literally  covered  with 
braid,  silk  embroidery,  and  jet  ornaments.  The  hair 

[33] 


TEXTILES  AND  COSTUME  DESIGN 

was  dressed  high  and  frizzed  or  waved  over  the  fore- 
head. This,  however,  went  out  of  fashion  about  1875, 
and  a  very  simple  coiffure  was  chosen.  The  hair  was 
looped  on  the  nape  of  the  neck  with  a  loose  ribbon 
bow.  Dressmakers  and  tailors  began  to  sell  ready- 
made  clothes. 

1880-1900  AND  SUMMARY 

From  1880  to  1900  there  was  a  decided  develop- 
ment in  good  taste  and  originality.  With  the  excep- 
tion of  the  bustle  and  leg-o  '-mutton  sleeves,  costumes 
had  simple,  logical  lines. 

If  it  had  been  possible  to  have  in  this  small  booklet 
a  complete  series  of  period  costume  plates,  it  would 
have  shown  clearly  that  in 

The  time  of  Margaret  of  Valois,  hoops  and  cor- 
sets were  most  noticeable. 

The  time  of  Louis  XIII,  there  was  over-decora- 
tion. 

The  4th,  5th,  and  6th  Centuries,  A.  D.— the 
Gothic  period — there  was  tightening  of  drap- 
ery. 

The  10th  Century — the  de  Medici  period — there 
were  corsets  and  the  pointed  waist-line. 

The  16th  Century  Velasquez  paintings,  1599- 
1660.  Mail  was  worn.  Huge  equipment  for 
hoops  and  large  slashed  sleeves  for  freedom 
of  movement  mark  this  period;  also  clumsy 
home  decoration  and  ornate  way  of  living. 

[34] 


HISTORY  OF  COSTUME 

1599-1641,  Van  Dyke  emphasized  collars,  neck 
linens,  and  armor.  Example :  Goya,  1596-1656. 

The  time  of  Louis  XIV,  there  was  no  structural 
line.  All  lines  were  artificial,  and  there  was 
much  over-decoration. 

1795-1799,  the  Directoire,  the  long  Greek  line 
was  revived.  Men  wore  long  coats  and  trous- 
ers below  the  knee. 

The  time  of  Josephine  during  the  Empire,  there 
was  a  return  of  the  Egyptian  or  Greek  bust 
line. 

The  early  Victorian  period,  drooping  shoulders 
were  emphasized. 

In  following  the  evolutions  and  revolutions  of 
dress,  it  is  evident  that  the  designs  in  times  of  peace 
were  characterized  by  loose  flowing  robes,  whereas 
close-fitting  garments,  over  which  leather  or  armor 
might  be  worn,  were  adopted  in  war  times.  It  is  ob- 
vious that  color  played  an  important  part  through 
the  centuries,  from  simple,  primitive  color  to  our 
more  elaborate  color  combinations  of  to-day.  The 
costumes  of  southern  peoples  were,  and  are  now, 
characterized  by  their  masses  of  harmonious  pri- 
mary colors.  Eoyal  pageants  and  ceremonials  of 
church  and  state  were  rich  in  color,  line,  and  adorn- 
ment. Nobles,  court  fools,  judges,  monks,  all  classes 
of  people,  wore  clothes  suited  to  their  social  status. 
It  seems  that  in  our  modern  dress  all  class  distinc- 
tion has  been  lost. 

[35] 


TEXTILES  AND  COSTUME  DESIGN 

At  the  present  time  Dame  Fashion  is  still  full  of 
whimsicalities.  There  is  a  decided  tendency,  however, 
to  limit  her  vagaries  by  a  study  of  the  history  and 
psychology  of  the  costume  and  by  a  growing  appre- 
ciation of  its  aesthetic  worth  as  one  of  the  Fine  Arts. 

Thus,  in  our  present-day  problem  of  the  designing 
of  clothes  we  must  consider  mass,  line,  and  color ;  and 
in  order  logically  to  analyze  dress,  it  is  necessary  to 
study  it  in  relation  to  the  different  types  of  persons. 


[36] 


COSTUME  DESIGN 

F  Costume  design  we  consider  mass,  line,  and 
olor,  and  how  to  analyze  dress  logically. 

The  first  interest  in  a  gown  is  at  the  head ;  sec- 
ond, at  the  throat  and  shoulders ;  third,  at  the  waist. 
In  color  combinations  the  hair,  eyes,  and  complexion 
are  the  first  consideration.  After  the  gown  is  finished, 
it  must  be  comfortable  and  suited  to  the  occasion  and 
the  personality  of  the  wearer.  There  are  two  ways  of 
dressing :  fashionably  and  suitably.  If  one  strives  for 
suitability,  comfort,  and  becomingness,  one  will  be 
well-dressed  at  all  times,  and  there  will  be  no  trim- 
mings at  all  if  they  be  not  simple,  beautifully  spaced, 
and  of  fine  quality.  Always  it  is  well  to  remember 
that  garments  may  caricature. 

To  design  a  costume  logically  involves : 

1.  The  study  of  the  structural  lines  of  the  hu- 

man figure  and  the  personality  of  the 
wearer. 

2.  The  choice  of  suitable  materials,  their  color, 

texture,  and  weave. 

3.  Beauty  in  shaping  and  ornamenting  the  gown 

according  to  the  laws  of  design,  which  are 
proportion,  rhythm,  harmony,  and  balance 
in  line,  mass,  and  color,  requiring:  (a)  log- 

[37] 


TEXTILES  AND  COSTUME  DESIGN 

ical  thought,  (b)  common  sense,  and  (c) 
good  taste  and  imagination,  to  attain  a  per- 
fect whole. 

More  explicitly,  the  elements  of  costume  design 
are: 

1.  Line  and  Drapery. 

a.  Long  line. 

b.  Continuous  line. 

c.  Eepeated  line. 

d.  Opposed  line. 

2.  Silhouette — outline. 

3.  Texture  of  cloth. 

a.  Surface. 

b.  Weave. 

c.  Weight. 

4.  Decoration. 

5.  Color. 

6.  Detail. 

In  the  following  paragraphs  this  outline  will  not 
be  fully  followed,  because  some  of  the  subjects  are 
discussed  under  other  headings. 

LINE  AND  DRAPERY 

The  best  designs  of  the  clothes  of  past  ages,  from 
the  standpoint  of  knowledge  of  textiles,  construction, 
and  the  principles  of  design  are:  (1)  proportion,  (2) 

[38] 


COSTUME  DESIGN 

rhythm,  (3)  harmony,  and  (4)  balance  in  mass,  line, 
and  color.  These  should  be  carefully  studied,  as  all 
art  is  applied,  and  the  great  artists  of  the  past  were 
craftsmen  with  tools  in  their  hands.  To-day  mate- 
rials and  tools  are  our  most  efficient  teachers  of  de- 
sign, whether  we  use  textiles  and  a  needle,  canvas 
and  a  paint  brush,  or  marble  and  a  chisel.  Give  an 
artist  a  piece  of  paper  and  say  to  him,  "I  want  a  de- 
sign," and  he  must  ask,  "What  for?"  Therefore  a 
designer  is  influenced  in  choice  of  materials,  their 
color,  their  texture,  and  the  ease  with  which  they  can 
be  cut,  beaten,  or  worked  into  shape. 

An  intelligent  analysis  of  costume  design  requires 
a  process  of  orderly  thought,  common  sense,  and 
good  judgment,  and  proves  that  the  basic  principle 
of  costume  design  depends  upon  the  anatomy  of  the 
human  figure.  The  "architecture"  of  the  gown  de- 
mands that  the  lines  of  the  material  follow  the  bone 
structure  and  lines  of  the  body.  If  they  do  not,  the 
lines  become  ugly  and  artificial.  The  draperies  of  the 
Venus  de  Milo  are  structurally  draped ;  therefore  the 
lines  are  very  beautiful,  because  the  material  hangs 
from  structural  points, — the  shoulder  and  hip.  The 
Greeks  always  emphasized  the  lines  of  the  chest, 
neck,  and  all  structural  points  from  which  the  folds 
of  cloth  fell.  Drapery  belongs  to  the  whole  attitude 
of  Greek  simplicity  and  freedom,  and  not  to  the  later 
Gothic  or  Renaissance  period. 

Greek  draperies  expressed  the  life  and  movement 
one  sees  in  the  Winged  Victory.  In  contrast,  the 
stolid  clothes  of  the  Chinese,  for  instance,  convey  no 

[39] 


TEXTILES  AND  COSTUME  DESIGN 

sense  of  action,  because  they  hang  in  straight  Hues 
and  are  not  draped  at  structural  points.  The  Greeks ' 
use  of  the  band  around  the  waist  was  the  beginning 
of  the  bodice.  Thus  it  became  evident  that  in  order  to 
secure  curved  and  interesting  lines,  the  material 
must  be  gathered  at  structural  points. 

Observation  of  the  skeleton  figure  will  lead  to  a 
realization  of  the  many  structural  points  which  must 
be  considered,  and  will  help  to  eliminate  the  many 
bad  examples  of  costume  design  resulting  from  the 
violation  of  simple  structural  rules.  See  Plate  VIII. 
For  instance,  the  so-called  bolero  jacket  illustrates 
lines  following  rib  structure.  Eibs  reinforce  struc- 
ture. To  be  designed  structurally,  the  bottom  lines 
should  end  at  the  lowest  rib,  at  the  hip  bone,  or  at  the 
end  of  the  trunk — not  in  between.  So  must  lines  of 
collars  conform  to  the  lines  of  the  cords  and  bone 
structure  of  the  neck,  which  may  be  seen  by  turning 
the  head.  Directoire  gowns  were  beautiful  because  the 
material  fell  in  folds  from  the  bust  line  to  the  feet. 

It  may  be  true,  as  someone  has  said,  that  dress  be- 
gan, not  as  a  modest  covering,  but  as  ornament.  How- 
ever, if  the  evolution  of  draping  from  early  Greek 
times  is  followed,  it  is  evident  that  the  Greeks  sub- 
ordinated all  decoration  to  line,  not  only  in  dress  but 
in  their  architecture,  and  still  secured  a  beautiful 
unity  of  the  whole  in  mass,  line,  and  color.  The  simple 
beauty  of  their  draperies  and  their  regard  for  silhou- 
ette, for  materials,  and  for  texture,  stand  out  in 
sharp  contrast  to  the  over-decoration  of  modern  cos- 
tumes. 

[40] 


PLATE   VII. 
Beautiful   Example  of   Line  and  Drapery 

in* Greek   Sculpture 
In  the  Metropolitan  Museum  of  Art,  New  York 


COSTUME  DESIGN 

Costume  design  is  very  simple  and  logical.  Cos- 
tumes combine  utility  and  artistic  effect,  inasmuch  as 
the  simple  lines  allow  perfect  freedom  of  movement. 

M.  Poiret  said, ' '  Simplicity  is  the  great  basic  prin- 
ciple of  costume  design.  If  a  garment  is  logical,  it 
will  not  have  buttons  or  pockets  merely  for  orna- 
ment. Buttons  will  button,  and  pockets  will  be  de- 
signed to  hold  things  conveniently. ' ' 

Again,  consider  costume  design  as  a  whole  in  rela- 
tion to  all  types  of  figures.  It  requires : 

1.  Study  of  proportion,  rhythm,  harmony,  and 

balance  in  relation  to  the  individual  figure, 
involving 

a.  Finely  related  mass,  line,  and  color  ar- 

rangement. 

b.  Good  spacing. 

c.  Fine  grouping  of  parallel  and  horizontal 

lines  in  the  material  and  trimmings. 

d.  Depth  and  delicacy  of  color  tones. 

2.  Study  of  lines  for  stout  and  slim  figures  (not 

considering  normal  figures),  in  regard  to 

a.  Kind — 

(1)  Horizontal. 

(2)  Perpendicular. 

(3)  Curved. 

b.  Effect. 

( 1 )  Changing  height  of  individual  figure, 

[41] 


TEXTILES  AND  COSTUME  DESIGN 

(2)  Determining  breadth. 

(3)  Resulting  in  caricature,  through  ig- 

norance in  use. 

c.  Use,  by 

(1)  Domination. 

(2)  Subordination. 

(3)  Opposition. 

3.  Good  spacing  in  line,  form,  and  color,  in- 

volving 

a.  Proper  arrangement. 

b.  Good  proportion. 

c.  Unity  and  variety. 

4.  Proper  color  combination — dark,  light,  or 

contrasting — demanding  that  color  be  sub- 
dued, not  striking,  in 

a.  Design. 

b.  Materials,  in 

(1)  Lustre  and  color. 

(2)  Texture  in  striped  and  figured  goods 

or  trimmings. 

SILHOUETTE 

Within  the  silhouette,  which  is  the  characteristic 
outline  of  the  figure,  there  may  be  designed  lines 
(aside  from  those  for  the  normal  figure)  suitable  for 
the  stout-tall,  stout-short,  slim-tall,  and  slim-short 

[42] 


PLATE  VIII. — Structural  Lines  and  Proportion 
Length  of  Head  Used  as  Unit  of  Measurement 


COSTUME  DESIGN 

figures.  In  the  suitability  of  design  and  materials  it 
should  be  noted  that 

1.  Materials   demand  honest  frank  considera- 

tion of  their  quality,  weave,  texture,  color, 
and  design. 

2.  Main  structural  lines  of  design  or  materials 

depend  upon  shape  or  type  of  figure— 

a.  Normal. 

b.  Stout. 

c.  Slim. 

3.  Eight  proportion  of  figure  may  be  gained 

through  using  length  and  shape  of  head  as 
unit  of  measurement  of  fairly  tall  person. 
For  example :  One  might  measure 

a.  From  top  of  head  to  feet 8     heads 

b.  From  chin  to  shoulder %  head 

c.  From  chin  to  waist 2     heads 

d.  From  waist  to  hips 1     head 

e.  From  hips  to  feet 4     heads 

f .  Across  shoulders 1%  heads 

g.  Face  length feet  length 

Because  the  human  eye  overestimates  height,  it  is 
of  the  greatest  importance  in  designing  a  costume 
for  the  stout  figure  to  create  and  further  this  illusion. 

[43] 


TEXTILES  AND  COSTUME  DESIGN 
THE  STOUT  FIGURE 

1.  In  stout-short  or  stout-tall  figures,  the  prob- 

lem is  to  change  height  and  decrease 
breadth,  as  all  structural  lines' of  stout  fig- 
ures express  breadth  and  circumference  in 

a.  Broad  head. 

b.  Square  face. 

c.  Short  neck. 

d.  Usually  square  shoulders. 

e.  Full  chest. 

f .  Broad  and  short  waist. 

g.  Large  hips. 

2.  As  whole  structure  and  lines  of  stout  figure 

express  breadth  and  circumference,  the 
stout  person  must  avoid  broken  silhouette 
and  must  wear  the  simplest  gowns  with 
very  little  trimming  and  only  touches  of 
bright  color.  Must  avoid: 

a.  The  use  of  broad  horizontal  lines  in  de- 

sign and  in  the  designs  of  the  fabrics 
used. 

b.  The  use  of  horizontal  lines  in  all  trim- 

mings and  decorations,  such  as 

(1)  Hats. 

(2)  Collars. 

(3)  Cuffs. 

(4)  Belts. 

(5)  Ruffles. 


[44] 


COSTUME  DESIGN 

c.  The  appearance  of  breadth  and  circum- 

ference, such  as  that  produced  by  a 
light  shirt  waist  and  dark  skirt  or  by 
short  elbow,  sleeves  which  end  at  waist- 
line and  therefore  continue  it. 

d.  Pleated  skirts.  (But  if  well  draped,  with 

finely  related  perpendicular  lines,  they 
will  make  a  stout  person's  hips  appear 
slender.) 

e.  Wide,  broad,  over- decorated,  flat  hats 

(because  of  horizontal  lines). 

3.  In  textiles,  the  stout  person  must  avoid : 

a.  Conspicuous  stripes  or  designs,  and 

large  spots  of  color  (choosing  instead 
subdued  colors  and  well-designed,  well- 
placed  spots  of  color). 

b.  Shiny  textured  cloths — satins,  et  cetera. 

Every  part  of  the  gown  may  assist  in  creating  the 
desired  effect  or  illusion  of  color  and  long  lines. 
Pockets  can  be  so  fashioned  and  placed  that  they 
help  to  produce  the  effect  of  long  or  short  line;  and 
for  stout,  large-hipped  women  elaborate  draperies  of 
soft  pleats  may  be  used  without  hesitation  if  they  are 
chosen  with  straight  lines  carried  below  the  hip,  and 
if  pointed  panels  are  employed.  The  stout  woman 
must  shun  plain,  tight-fitting  skirts,  and  she  must  re- 
member that  the  corset  is  not  worn  merely  for  sup- 
port, but  to  give  the  figure  harmony,  and  that  the  line 
of  her  gown  must  always  taper  toward  the  part  of 

[45] 


TEXTILES  AND  COSTUME  DESIGN 

the  figure  which  she  wishes  smaller  in  appearance. 
The  lines  may  be  carried  out  within  the  silhouette, 
as  in  Plate  IX,  or  they  may  not  have  to  complete 
themselves  within  the  silhouette. 

Buttons  may  be  used  to  improve  and  lengthen  the 
line  of  figure.  Applied  to  the  skirt  or  waist,  they  may 
make  a  figure  appear  taller.  If  possible,  it  is  well  to 
have  them  button  and  not  merely  decorate.  Pockets 
will  decorate  logically  if  they  are  placed  conveniently 
for  wear,  to  hold  things;  and  buttons  will  decorate 
logically  if  they  hold  and  button.  Simplicity  and  con- 
sistency in  every  part  of  the  costume  should  be  ob- 
served. 

THE  SLENDER  FIGURE 

1.  Structural  lines  of  slender  figure  involve  con- 

sideration of 

a.  Slender  head. 

b.  Thin  face. 

c.  Thin  neck. 

d.  Narrow  sloping  shoulders. 

e.  Slender  hips. 

f.  Flat  chest. 

g.  Narrow  waist-line. 

2.  Costume  for  the  slender  figure 

a.  Must  avoid 

(1)  Exaggerating  height  and  slender- 
ness  by  many  perpendicular  and 
long  lines. 

[46] 


COSTUME  DESIGN 

( 2 )  Narrow,  clinging,  close-fitting  dresses 

and  coats. 

(3)  Tight  sleeves,  or  angular  lines  in 

sleeves,  waist,  skirt,  and  coat. 

b.  May  permit 

(1)  Increasing  width  by  breaking  up  sil- 

houette with  horizontal  or  vertical 
lines. 

(2)  Horizontal  lines  in  sleeves,  waist, 

skirt,  and  coat. 

(3)  With  discretion  and  restraint- 

frills,  decorations,  short  skirts, 
broad  low  hats,  et  cetera. 

(4)  More  trimmings  and  color  than  for 

the  stout  figure ;  decoration  or  line 
at  the  waist  or  neck,  by  color  or 
trimming. 

It  may  be  repeated  that  if  one  cannot  evolve  and 
design  a  costume  for  oneself,  there  are  good  fashion 
plates  in  costume  books  and  magazines  to  fit  the  indi- 
vidual style.  Improve  the  lines  of  such  a  skeleton 
figure  for  the  particular  use  required.  It  is  interest- 
ing to  take  a  sketch  of  the  Mediaeval  or  Greek  dress 
and  design  a  modern  dress  from  it. 


[47] 


ACCESSORIES 

THE  accessories  of  a  costume  may  be  many: 
The  hat,  gloves,  belt,  shoes,  parasol,  jewelry, 
and  all  dress  trimmings;  and  they  must  be 
subordinated  to  the  costume  and  its  structural  lines. 

THE  HAT 

Of  all  the  accessories  the  hat  is  the  most  impor- 
tant, because  it  must  be  closely  connected  by  a  fine 
relation  of  line  and  color  with  the  dress.  Above  all, 
it  must 

1.  Fit  the  head. 

2.  Be  of  correct  size. 

3.  Be  in  correct  position  on  the  head. 

Perhaps  the  hat  is  first  mentioned  in  history  as  be- 
ing worn  by  Sarah,  wife  of  Abraham.  In  the  temper- 
ate zone,  hats  were  not  worn  in  early  times  except  at 
feasts  or  public  entertainments  as  a  mark  of  victory. 
Men  wore  hats  before  women,  as  a  protection  to  the 
head  in  the  chase  or  in  war.  Hats  assumed  more  im- 
portance in  the  north  than  in  the  south,  because  of 
the  cold. 

Hats  are  made  of  felt,  silk,  velvet,  linen,  cotton, 
stems  of  plants,  straw,  hair,  fur,  metal,  in  fact,  almost 
everything. 

[48] 


ACCESSOEIES 

The  following  points  about  hats  must  be  remem- 
bered : 

1.  A  hat  should  not  cover  the  eyebrows. 

2.  It  should  not  look  perched  on  top  of  the  head. 

3.  The  crown  front  line  should  continue  the  fore- 

head line. 

4.  At  the  back  it  should  not  extend  beyond  the 

hair. 

5.  The  weight  should  not  fall  too  far  back,  and 

the  weight  of  the  crown  should  be  evenly 
distributed  over  the  crown  of  the  head  in 
order  to  give  good  balance  and  follow  the 
head  and  hair  lines. 

6.  The  crown  should  not  extend  beyond  the  side 

contour  of  the  hair,  nor  be  smaller  than  the 
continuation  of  the  side  lines  of  the  head. 

7.  Crowns  are  made  to  protect  the  head. 

8.  Brims  are  intended  in  front  to  protect  the 

eyes ;  on  the  sides  and  at  the  back,  only  for 
balance  in  line.  They  should  not  extend  be- 
yond the  shoulders,  because  of  the  incon- 
venience they  might  cause  to  other  people. 

9.  The  trimmings  should  furnish  fine  balance  to 

keep  the  hat  in  the  proper  place  on  the 
.  head.  They  should  be  placed  either  in  front 
or  at  the  sides. 

[49] 


TEXTILES  AND  COSTUME  DESIGN 

10.  A  hat  light  in  texture  may  be  larger  than  one 

which  is  heavy  in  texture.  Of  course  a  light 
colored  hat  will  look  larger  than  a  black  or 
dark  one. 

11.  A  hat  should  be  adjusted  so  that  it  looks  well 

from  all  points  of  view. 

12.  The  center  of  interest  should  be  either  at  one 

side  or  in  the  front. 

13.  A  small  hat  is  in  better  balance  with  a  short 

skirt  than  is  a  large  hat. 

14.  A  large  hat  balances  a  figure  with  a  train 

gown. 

It  cannot  be  too  strongly  emphasized  that  trim- 
mings and  insertions  must  be  put  on  a  gown  or  hat 
with  the  idea  of  the  relation  of  lines  to  the  figure.  In 
trimmings,  reject  shortening  horizontal  lines  in  dia- 
mond-shaped medallion  type  or  cheap  metallic  dec- 
orations. It  must  not  be  forgotten  that  gay  colors  and 
large  figures  in  decoration,  and  large,  high-peaked, 
over-trimmed,  over-decorated,  plumed  hats  carica- 
ture and  are  grotesque. 

In  all  trimmings  and  decorations,  for  the  gown  as 
well  as  for  the  hat,  there  must  be  very  careful  plan- 
ning^ because  everything  is  offered  to  the  purchaser, 
suitaole  and  unsuitable.  There  are  wild  assortments 
of  trimmings  made  from  animals,  vegetables,  and 
minerals,  such  as  gimp,  leather,  fur,  braid,  and  rib- 
bon. Sometimes  these  may  ruin  a  gown.  There  is  no 
need  to  bolster  up  the  figure  with  bustle,  paddings, 
hoops,  puffs,  and  very  tight  waists,  because  these 

[50] 


ACCESSOKIES 

makeshifts  fail  to  add  beauty  or  grace.  Always  if 
ease  and  comfort  are  sought  intelligently,  the  result 
will  be  beauty,  and  lines  will  follow  lines  rhythmi- 
cally. 

JEWELRY 

From  the  earliest  age  savage  men  decked  their 
bodies  with  shells  and  bones,  rings  were  worn  in  the 
nose,  lips,  ankles,  and  wrists,  and  they  wore  necklaces 
chains,  bracelets,  anklets,  and  every  variety  of  orna- 
ment, made  of  any  kind  of  material.  The  love  of  or- 
nament appears  to  be  carried  to  greatest  excess  by 
the  most  civilized  and  the  most  uncivilized  of  nations. 
The  colored  maid  of  Africa  prides  herself  upon  her 
beads  and  shells,  while  the  elegantes  of  England  and 
France  glitter  in  diamonds  from  Golconda,  and  sap- 
phires and  rubies  from  Peru;  and  at  the  present 
time,  precious  stones  are  more  exquisitely  set  than 
ever  before. 

Of  all  the  accessories  of  a  costume,  it  is  necessary 
intelligently  to  omit  jewelry  when  it  is  superfluous. 
It  is  often  tragically  true  that  refinement,  or  the  lack 
of  it,  in  a  person  expresses  itself  chiefly  in  the  wear- 
ing of  jewelry.  It  indicates  individuality  and  char- 
acter quite  as  much  as  the  gown.  Therefore  it  is 
much  better  to  wear  none  at  all  or  else  wear  an  at- 
tractive ribbon  around  the  neck  or  wrists,  if  one  can 
not  afford  to  buy  well-designed  silver,  gold,  or  plat- 
inum jewelry. 

One  should  wear  with  tailored  suits,  afternoon 

[51] 


TEXTILES  AND  COSTUME  DESIGN 

dresses,  shirt  waists,  and  everyday  working  clothes, 
silver  jewelry  of  simple  and  good  design,  set  with 
semi-precious  stones,  such  as  jade,  lapis  lazuli,  or 
turquoise  matrix,  cut  cabochon  or  facet.  This  style 
of  jewelry  is  suitable  for  young  girls.  Semi-precious 
stones  are  beautiful  in  color  and  lend  themselves  to 
many  combinations,  but  often  a  mingling  of  colored 
stones  is  apt  to  be  unbecoming  unless  the  blending  is 
harmonious.  Not  only  the  color  and  shape  of  the 
stones  are  to  be  considered,  but  also  the  shape  and 
size  of  the  settings.  With  evening  gowns  more  elab- 
orate jewelry,  set  in  gold  or  platinum,  with  precious, 
facet-cut  stones  such  as  diamonds,  emeralds,  and  sap- 
phires, should  be  worn;  and  facet-cut  stones  should 
also  be  worn  with  velvets,  silks,  or  elaborate  after- 
noon frocks. 

Diamonds  are  ostentatious  and  may  not  be  worn 
by  everyone.  They  enhance  the  brilliancy  of  a  cos- 
tume if  worn  with  restraint,  but  more  often  they 
detract  from  the  personal  appearance,  dim  the  lustre 
of  the  eyes,  and  take  life  away  from  the  skin.  Their 
clear  hardness  communicates  itself  to  the  features, 
bringing  them  out  in  strong  relief.  Diamonds  always 
appear  hard  and  cold  if  they  are  not  set  in  enamel  or 
with  colored  stones.  Emeralds  have  a  similar  effect, 
without  lighting  up  a  costume.  They  should  be  worn 
with  gowns  of  harmonizing  color. 

Pearls  are  a  trifle  less  ostentatious  than  diamonds. 
They  are  generally  becoming  and  suitable  for  almost 
all  occasions.  Their  color  is  often  chosen  to  match 
the  complexion. 

[52] 


ACCESSORIES 

Turquoise  stones  are  perilous  to  nearly  everyone, 
having  the  effect  of  darkening  the  skin  and  detracting 
from  the  youthful  look.  They  are  better  worn  with 
an  accompaniment  of  pearls  than  by  themselves. 

A  painfully  thin  person  should  not  wear  long  neck- 
laces. They  accentuate  thinness  and  angularity  as 
does  no  other  article  of  dress.  In  fact,  one  should  not 
attempt  to  wear  a  neck  chain  of  any  sort  without  first 
trying  its  length  and  noting  its  effect  on  the  contour 
of  the  figure,  for  it  actually  adds  or  detracts  from 
one's  apparent  height.  Large  spottings  of  jewelry, 
such  as  oversized  rings  and  too  large  necklaces,  or 
bracelets,  or  hair  ornaments,  are  always  in  extremely 
bad  taste.  Often  colored  stones  matching  the  color 
in  gowns  are  effective. 

Now  that  sets  of  jewelry  are  being  made  fashion- 
able again,  earrings  are  sold  to  match  the  hairpins, 
and  rings  on  the  fingers  are  made  to  harmonize  with 
the  buckles  which  clasp  hair  ornaments  of  various 
kinds. 

Many  less  valuable  gems,  such  as  jade  and  acqua- 
marine,  amethyst  and  topaz,  are  lavishly  displayed. 
They  are  threaded  on  gold  to  hang  about  the  neck, 
making  an  impressive  splash  of  color  upon  a  filmy 
lace  corsage.  Never,  surely,  were  the  various  pre- 
cious stones  of  the  universe  more  exquisitely  set  for 
the  adornment  of  women  than  at  the  present  time. 


[53] 


MATERIALS 

IN  choosing  cloths,  the  costume  designer  is  influ- 
enced by  the  kind,  quality,  color,  texture,  weight, 
and  the  consideration  of  the  best  way  to  cut  and 
fashion  them.  Cloths  may  be  so  beautiful  in  them- 
selves that  it  is  unnecessary  to  load  them  with  trim- 
mings. If  a  beautiful,  worthy  piece  of  cloth  is  selected 
for  a  gown,  and  if  it  be  of  simple  weave  and  proper 
weight  for  a  certain  season 's  wear,  it  will  always 
look  well  and  it  will  not  fade  or  shrink  quickly,  even 
with  hard  wear. 

It  must  be  remembered  that  the  texture  of  cloths 
is  fully  as  important  as  the  color.  Cloths  may  be 
beautiful  in  themselves  and  yet  caricature  if  the  tex- 
ture, figures,  and  designs  are  of  brilliant,  glossy 
color.  For  instance,  the  texture  of  chiffon  net  is  quite 
different  from  the  texture  of  silks  or  heavy  materials. 
Think  of  wearing  a  cheviot  skirt  with  a  blouse  of 
shiny  satin,  or  heavy  broadcloth  with  a  filmy  crepe 
de  chine !  There  would  not  be  the  least  consideration 
of  their  surfaces  or  weave,  which  are  unlike  and  un- 
suited.  Neither  is  a  velvet  gown  worn  in  the  morning 
in  the  house,  or  a  calico  dress  at  a  formal  evening 
affair. 

Materials  must  be  used  with  regard  to  weave, 
weight,  texture,  quality,  and  color.  It  is  well  to  re- 
member that  the  kind  of  material,  its  texture,  weave, 
and  color  give  character  to  the  design. 


[54] 


MATEKIALS 

The  following  are  important  facts  about  material : 

1.  It  should  be  of  the  best  quality  to  wear  well. 

2.  It  should  be  suited  to  the  type  of  garment  and 

to  the  season. 

3.  Fabrics  which  are  decorative  in  texture  and 

pattern  require  very  little  trimming. 

4.  Plain  material  is  suited  to  any  type  of  figure. 

5.  The  use  of  plain  material  or  tucks  and  pleats 

is  preferable  to  cheap  trimming. 

6.  Broad  conspicuous  stripes  or  plaids  of  con- 

trasting colors  and  textures  should  be 
avoided  by  all  types.  Vertical  stripes  of 
contrasting  tones  may,  however,  be  worn 
with  discretion  by  tall  slender  persons ;  also 
reasonably  patterned  plaids  if  the  skirt  is 
not  short.  Plaids  should  never  be  worn  by 
the  stout  woman. 

7.  Figured  goods  with  large,  conspicuous  pat- 

terns or  designs  should  be  avoided  by  all 
types.  Moderately  large-figured  material,  if 
designs  and  colors  are  close  in  value,  may 
be  worn  by  tall  slender  persons.  Plain  ma- 
terial, or  that  with  small  indefinite  figures, 
close  in  value,  is  required  by  the  short  stout 
person. 

Pamphlets  from  the  Home  Economics  Department 
of  any  college  or  university  will  give  a  chart  for  the 

[55] 


TEXTILES  AND  COSTUME  DESIGN 

tests,  or  for  chemical  analysis  and  tests,  for  textiles 
and  dyes. 

These  are  a  few  simple  suggestions : 

METHODS  OF  ADULTERATION 

1.  By  combination.  Use  of  other  fibers  besides  the 

one  indicated  by  the  name  of  the  material. 
Examples :  cotton  in  woolens,  cotton  in  linens. 

2.  By  substitution.  Selling  one  fiber  under  the 

name  of  an  entirely  different  one.  Example: 
mercerized  cotton  sold  for  silk  or  linen. 

3.  By  increasing  the  weight  of  a  material.  Ex- 

amples :  cottons  and  linens  with  starch ;  silks 
with  metallic  salts  and  dyes. 

4.  By  giving  a  finish  which  is  deceptive.  Examples : 

(a)  heavily  pressing  or  calendering  an  ordi- 
nary cotton  to  imitate  mercerizing;  (b)  fin- 
ishing cotton  to  look  like  linen;  (c)  printing 
paste  dots  on  cotton  to  produce  the  effect  of 
embroidered  dotted  swiss. 

5.  By  using  made-over  yarns.  Examples:  shoddy 

in  woolens;  addition  of  short  wool,  felted  in 
surface. 

TESTS  FOR  ADULTERATION 

1.  Examination  of  cloth  to  see  if  all  threads  are 
alike  and  to  distinguish  kind  of  thread. 

[56] 


MATEKIALS 

2.  Examination  of  individual  threads : 

Cotton — short  fibers;  ends  appear  fuzzy  in 

thread. 

Wool — short  fibers,  decidedly  kinky  and  stiff. 
Silk — long,  straight  fibers  with  lustre. 
Spun  silk — fibers  short;  thread  looks  more 

like  cotton  and  breaks  more  easily  than 

reeled  silk. 
Linen — strong  threads;  high  lustre;  when 

broken,  ends  are  very  uneven  and  straight. 

3.  Burning: 

Cotton  burns  quickly  with  flame. 

Wool  burns  slowly;  chars;  gives  off  odor  of 

burnt  feathers. 
Silk  burns  slowly;  leaves  small  crisp  ash; 

when  weighted,  leaves  more  ash. 
Linen,  similar  to  cotton. 

4.  Treating  with  olive  oil : 

Cotton  remains  opaque. 
Linen,  if  without  much  starch,  becomes1  trans- 
lucent. 

5.  Wetting:  When  wet,  a  mixture  of  cotton  and 

wool  wrinkles  more  than  pure  wool. 

6.  Examination  of  the  finish:  Whether  alike  on 

both  sides;  whether  the  apparent  beauty  of 
the  material  is  due  to  finish  or  to  good  quality. 

Expensive  materials  are  often  durable,  although 
this  is  not  always  true  of  silks  or  of  materials  in 

[57] 


TEXTILES  AND  COSTUME  DESIGN 

which  the  effect  is  more  important  than  the  wearing 
quality.  Costly  broadcloths,  worsted  suitings,  fine 
table  linens,  good  cottons,  appear  in  their  true  light 
and  worth.  In  novelties,  silks,  and  inexpensive  ma- 
terials, one  needs  to  be  vigilant.  Be  sure  the  inex- 
pensive is  not  cheap,  unless  you  want  a  cheap  ma- 
terial— cheap  in  wearing  quality  as  well  as  cheap  in 
appearance  and  in  cost. 


[58] 


COLOR 

THE  object  of  color  in  a  costume  is  to  obtain  a 
pure,  worthy,  beautiful  combination  which  will 
grow  more  beautiful  the  more  one  looks  at  it. 
One  problem  is  to  avoid  violent  extremes  and  values ; 
and  to  get  good  color  combination  in  the  use  of  ma- 
terials, texture  is  as  important  as  color.  The  color 
is  easier  to  plan  if  the  materials  are  at  hand. 

In  clothes,  the  texture  may  be  good  but  not  the 
color, — for  example,  a  cheviot  skirt  and  a  blouse  of 
hard,  shiny  material.  The  lustre  and  color  of  silks 
sometimes  lead  one  to  forget  form,  since  color  and 
texture  often  hide  bad  design  so  that  one  forgets  the 
form  altogether,  just  as  color  is  often  used  at  the 
expense  of  the  design.  This  is  exemplified  by  the 
Chinese,  who  care  more  for  color  than  for  design, 
though  their  color  is  always  good  and  their  arrange- 
ment pleasing. 

The  admixture  of  lights  in  the  spectrum  may  be  the 
cause  of  color.  The  sources  from  which  colors  come 
and  are  developed,  are  the  pigments  and  their  ef- 
fects. There  are  three  elements  of  color  which  must 
be  considered:  Hue,  the  name  by  which  we  distin- 
guish one  color  from  another,  as  green  from  red; 
Value,  the  amount  of  light  and  dark ;  and  Intensity, 
the  strength  of  color — its  purity,  whether  it  be  bright 
or  dull. 

[59] 


TEXTILES  AND  COSTUME  DESIGN 

The  primary  colors,  from  which  all  color  may  be 
mixed,  are  red,  yellow,  and  blue.  One  designer  writes 
that  all  colors  in  the  world  are  made  up  of  pure  red, 
yellow,  green,  blue,  and  purple,  and  that  any  color 
one  sees,  no  matter  how  dark  or  light,  how  bright  or 
dull,  has  one  or  more  of  these  in  it.  Five  more  colors 
come  in  between  these.  Between  purple  and  red, 
there  is  red-purple;  between  red  and  yellow,  there 
is  yellow-red;  between  yellow  and  green,  there  is 
green-yellow ;  between  green  and  blue,  there  is  blue- 
green  ;  between  blue  and  purple,  there  is  purple-blue. 
The  opposite  of  yellow  is  purple-blue ;  of  red,  is  blue- 
green  ;  of  green,  is  red-purple ;  of  blue,  is  yellow-red 
(orange) ;  of  purple,  is  green-yellow.  Opposites,  if 
mixed,  will  kill  each  other,  making  a  neutral  gray. 
Putting  opposite  colors  side  by  side  will  produce  a 
stronger  and  more  brilliant  effect. 

In  our  costumes,  and  our  homes,  it  is  necessary  to 
know  how  to  use  colors  and  combine  them  harmoni- 
ously. Color  appreciation  must  be  developed  through 
thoughtful  observation  of  good  and  bad  color  com- 
binations, just  as  a  fine  sense  of  line  is  developed.  If 
the  costume  has  a  foundation  of  bad  line,  it  will  be 
almost  impossible  to  bolster  it  up  with  color,  because 
the  best  color  harmonies  are  built  upon  a  foundation 
of  well-spaced  lines,  and  color  demands  proportion, 
rhythm,  harmony,  and  balance,  as  well  as  careful 
consideration  of  texture,  color  vibration,  and  toning1. 
Therefore,  in  costume  design,  decide  upon  the  foun- 
dation color,  then  what  other  color  will  look  well 
with  it. 

[60] 


COLOK 

Perhaps  the  most  important  color  problem  in  cos- 
tume is  to  obtain  a  balance  of  light  and  dark  spots 
or  spacings.  This  may  be  secured  by  arrangement  of 
dark  and  light  areas — by  large  spots  of  dark  color 
balanced  by  small  spots  of  light  color,  or  vice  versa. 
A  second  way  is  to  use  tones  from  bright  to  gray,  or 
a  large  spacing  of  quiet  color  balanced  by  a  small 
amount  of  light  color,  or  vice  versa. 

In  using  color,  texture  must  be  considered.  Tex- 
ture is  the  effect  produced  by  the  background's  being 
seen  through  the  color  or  by  a  surface  that  reflects 
light  in  small  points,  as  in  textiles  in  which  the  raised 
warp  threads  produce  the  texture.  A  sorry  fault  in 
prints  of  any  color  is  the  lack  of  texture.  If  a  painter 
or  printer  uses  a  glossy  hard-finished  paper  and  then 
loads  on  color,  the  design  or  color  may  be  good,  but 
the  effect  is  hard.  There  is  no  texture  to  soften  and 
harmonize  the  tones.  Hard,  shiny  finishes,  orange 
shellac,  and  hard  light  varnishes  ruin  and  cheapen 
almost  anything. 

Material  of  full  intense  color  may  be  neutralized 
and  harmonized  in  effect  by  covering  it  with  layers 
of  transparent,  subdued  material  of  different  color. 

EXAMPLES  OF  USE  OF  COLOR 
FOR  CERTAIN  TYPES 

1.  High  color. — Avoid  high  color,  especially  red. 

2.  Clear  complexion. — Use  any  moderate  color. 

3.  Bed  hair. — Avoid  blue,  the  opposite  color,  which 

is  too  strong.  Bed  hair  is  really  dark  orange 
(yellow-red),  meaning  that  light  blue,  its  exact 

[61] 


TEXTILES  AND  COSTUME  DESIGN 

opposite,  makes  both  colors  stronger,  and  the 
result  is  often  too  violent  a  contrast.  There- 
fore this  type  should  wear  purplish  hues  or 
blue-green. 

4.  Clear  complexion  without  color. — May  use : 

a.  Color  reflecting  reddish  tints. 

b.  Light  blue ;  dark  blue. 

c.  Violet,  toward  red. 

d.  Eed  browns  and  orange,  formed  of  yellow 

and  red. 

e.  Gray  with  touch  of  color. 

5.  Sallow  complexion. — May  use : 

a.  Beds,  rose,  middle  value. 

b.  Blue,  light  and  dark. 

c.  Greens,  only  in  dark  tones. 

d.  Variations  of  tone — lighter  blue  or  darker 

blue. 

SUGGESTIONS  CONCERNING 
THE  USE  OF  COLOR 

1.  In  combining  blue  and  green,  there  should  be  a 
difference  in  amounts  to  vary  tone — lighter  green 
or  darker  blue. 

2.  Yellow  and  orange,  few  wear  successfully. 
Lowered  in  tone  or  darkened  in  value,  they  are  better, 
less  trying. 

3.  Dark  blue,  any  one  can  wear.  Intense  blues  bring 
out  yellowish  complexion,  by  contrast.  Light  blue  and 
pale  rose  or  pink  are  the  most  successful  of  light 
colors. 

[62] 


COLOE 

4.  Brilliant  colors  should  be  worn  in  small  quanti- 
ties. 

5.  Usually  the  most  striking  color  is  used  to  ac- 
centuate the  center  of  interest  in  a  costume. 

6.  Brilliant  colors,  as  well  as  large-figured  designs 
in  clothes,  caricature.  They  may  be  so  startling  that 
the  gown  asserts  itself  above  the  wearer.  It  is  very 
easy  to  design  a  gown  that  will  cause  the  wearer  to 
sink  into  utter  insignificance  through  violent  color 
contrasts  or  combinations. 

7.  It  is  well  to  consider  that  colors  apparently 
throw  their  complementaries  over  the  surface  sur- 
rounding them.  If  red  is  placed  beside  blue,  the  red 
casts  a  green  light  over  the  blue  and  the  blue  casts 
an  orange  light  over  the  red,  so  the  blue  becomes 
greenish-blue  and  the  red  orange-red. 

a.  If  red  is  placed  beside  yellow  it  appears  bluer. 

b.  If  red  is  placed  beside  green  it  appears 

brighter. 

c.  If  red  is  placed  beside  white  it  appears 

brighter  and  lighter. 

d.  If  red  is  placed  beside  gray  it  appears 

brighter. 

e.  If  red  is  placed  beside  black  it  appears  duller. 

Painters,  decorators,  dressmakers,  salesmen,  win- 
dow-trimmers, and  designers,  cannot  well  ignore 
these  facts. 

A  dark  tone  against  a  light  tint  appears  darker  by 

[63] 


TEXTILES  AND  COSTUME  DESIGN 

contrast.  Complementary  colors  enhance  the  bril- 
liancy of  each  other.  Complementary  colors  also  mu- 
tually improve,  strengthen,  and  purify  each  other. 
They  are,  therefore,  most  satisfactory  in  painting, 
tapestry,  stained  glass,  clothing,  flower-gardens,  mil- 
linery, et  cetera. 

Non-complementary  colors  may  mutually  improve 
or  injure  each  other,  or  one  may  be  improved  and 
one  injured.  Often  the  less  difference  there  is  in  tone, 
the  more  likely  they  are  to  be  pleasing. 

Depth  of  tone  has  a  strong  effect  upon  harmonies 
of  color.  Two  colors  may  look  well  together  if  one  is 
light  and  one  is  dark ;  they  might  make  a  more  pleas- 
ing harmony  if  they  were  both  of  the  same  tone.  Or 
two  light  tones  may  look  well  together,  whereas  two 
dark  tones  of  the  same  color  would  be  displeasing. 

White  or  black  or  pale  yellow  may  be  placed  be- 
tween colors  that  are  strong  or  that  are  not  pleasing 
together.  This  method  sometimes  makes  them  appear 
in  better  harmony. 

White  in  contact  with  other  colors  is  influenced  by 
their  complementaries  and  so  reacts  upon  them,  in- 
tensifying their  purity  and  brightness. 

Black  gives  character  to  anaemic  color. 

Warm  colors,  especially  orange,  deepen  and  in- 
tensify black.  Blue  and  violet  weaken  black.  Black 
weakens  the  tone  of  a  contrasting  color.  White 
strengthens  the  tone.  In  furnishing  rooms,  or  in  de- 
sign, contrast  of  tone  is  more  important  than  contrast 
of  color. 

Light  has  a  strong  influence  upon  harmonies  of 

[64] 


COLOR 

color,  a  fact  important  to  decorators  and  textile  man- 
ufacturers. Two  colors  may  look  well  together,  but 
may  appear  very  different  in  various  materials.  In 
glossy  surfaces  like  the  breasts  of  birds,  the  wings 
of  butterflies,  the  petals  of  flowers,  colors  are  blended 
that  would  not  harmonize  at  all  in  dull,  unglazed  sur- 
faces. Someone  has  said  that  the  only  creatures  which 
can  go  about  their  labors  clad  in  resplendent  array 
without  being  incongruous  are  the  insects  and  the 
birds. 

It  is  interesting  to  observe  that  if  a  salesman  shows 
many  pieces  of  cloth  of  the  same  color,  the  eye  of 
the  customer  is  fatigued  and  he  sees  the  comple- 
mentary color  graying  or  dulling  the  cloth  he  is 
looking  at.  The  skillful  salesman  will  show  the  com- 
plementary color  occasionally,  to  restore  interest  in 
his  goods. 

Analogous  color  harmonies  may  be  secured  by : 

1.  Harmony  of  scale — in  one  color. 

2.  Harmony  of  tone — in  different  colors. 

3.  Harmony  of  dominant  color — one  given  color 

mixed  with  all  the  others. 

Harmonies  of  contrast : 

1.  Harmony  of  complementary  colors. 

2.  Harmony  of  contrast  of  color  with  Norman 

gray. 

[65] 


TEXTILES  AND  COSTUME  DESIGN 

3.  Harmony  of  contrast  of  tone. 

Color  is  an  outer  expression  of  a  person's  refine- 
ment and  culture.  Brilliant  color  combinations  in 
clothes  often  make  the  wearer  appear  silly  or  ridic- 
ulous and  sometimes  lead  to  unpleasant  questions 
about  character. 

In  designing  a  gown,  one  should  realize  that  color 
has  meaning  and  choose  hues  to  express  either  color 
combinations  or  ideas,  thus  striving  for  harmony 
rather  than  confusion.  Intelligent  omission  of  super- 
fluous color  design  may  not  be  safely  ignored,  lest 
it  result  in  the  wrong  effect. 

An  observing  French  woman  felt  this  so  strongly 
that  she  said,  "It  is,  perhaps,  allowable  to  be  senti- 
mental in  a  sky-blue  bonnet,  but  one  must  never  cry 
in  a  pink  one!" 

It  is  well  to  remember  that  we  see  four  or  five 
colors  at  one  glance  and  that  we  remember  the  big- 
gest mass  of  color  without  more  detail.  We  see  that 
half  of  the  colors  in  the  spectrum  suggest  coolness, 
and  half  of  them  suggest  warmth.  Blues,  greens,  and 
purples  are  cool  colors ;  red,  orange,  and  yellow  are 
warm.  So  in  selecting  colors  for  gowns  or  hats,  we 
express  coolness  or  warmth,  formality  or  precision, 
reserve  or  informality,  carelessness  and  joyousness. 
Moreover,  the  shades  and  tints  of  the  color  tones  in 
a  costume  will  make  one  conspicuous  or  inconspic- 
uous. Few  people,  for  instance,  have  enough  vitality 
or  striking  personality  to  start  out  in  a  red  gown. 

Every  person  is  distinctly  a  color  type.  The  color 

[66] 


COLOB 

is  decided  by  the  hair,  eyes,  or  skin.  Frequently  these 
are  the  same  general  color.  Often  the  color  type  may 
be  complementary  or  a  combination.  In  some  persons 
the  eyes  make  the  strongest  appeal;  in  others,  the 
hair;  in  a  few,  the  skin.  To  ascertain  a  right  color 
scheme,  decide  which  is  the  stronger  color  note,  the 
eyes  or  the  hair. 

So  keenly  is  the  effect  of  color  felt  by  Monsieur 
Poiret  that  he  says :  ' l  There  are  gowns  which  express 
joy  of  life;  those  which  announce  catastrophe ;  gowns 
that  weep ;  gowns  romantic ;  gowns  full  of  mystery ; 
and  gowns  for  the  Third  Act."  No  one  but  a  French- 
man could  have  said  that. 

It  is  interesting  to  follow  the  color  symbolism  used 
by  the  painters  in  the  monasteries  of  the  early  Chris- 
tian church.  For  example,  they  used  blue  as  a  symbol 
of  innocence  or  truth,  red  as  a  symbol  of  life;  and 
we  have  come  to  accept  these  color-meanings  uncon- 
sciously. 

Striking  examples  of  this  color  symbolism  are  to 
be  seen  on  the  modern  stage,  where  costume  is  made 
to  express  the  mood  of  the  hero,  heroine,  or  villain. 
But  this  is  too  vast  a  subject  to  be  considered  in  this 
book. 


[67] 


CONCLUSION 

EVERY  human  being  has  the  inherent  ability  to 
design  logically;  to  choose,  plan,  and  arrange 
houses  or  costumes;  to  develop  good  taste 
through  the  working  out  of  anything  he  desires  to 
possess.  It  is  unfortunately  true  that  many  people 
will  adopt  any  costume  or  decoration,  however  ec- 
centric or  ridiculous,  which  may  be  decreed  by  cir- 
cumstances or  the  whim  of  a  celebrity.  Then  things 
which  seemed  hideous,  through  whims  and  follies  of 
the  time,  place,  or  person,  become  the  height  of 
fashion. 

Whether  the  fashions  are  set  by  celebrities,  manu- 
facturers, or  designers,  it  is  hard  to  say.  Perhaps  the 
future  belongs  to  real  creators.  In  this  day,  so-called 
fashion  oftentimes  violates  every  good  principle  of 
form,  design,  and  color  harmony.  The  fashions  re- 
volve in  a  mad  whirl  from  tight  to  loose,  loose  to 
tight,  dark  to  light,  light  to  dark.  But  why  should  not 
one's  individual  dress  be  made  more  beautiful  in  line 
and  color  than  it  has  ever  been,  by  the  logical  adap- 
tation of  line  and  color  to  one's  own  needs  and 
person? 

Why  accept  fashions  in  gowns,  hats,  and  materials 
when  they  caricature  and  are  ridiculous,  and  when 
there  are  many  ways  of  developing  dignified  and 

[68] 


CONCLUSION 

beautiful  tailored  suits,  hats,  afternoon  and  evening 
gowns,  coats  and  evening  cloaks  of  fine  material  for 
one's  own  individual  person!  There  are  sketches  in 
the  magazines  and  historic  costume  books  from  which 
ideas  may  be  traced,  sketched,  and  developed  into 
gowns  suited  to  one's  type. 

For  centuries  the  arts  of  literature  and  painting 
in  the  Orient  have  influenced  and  revolutionized  our 
ideas  of  dress.  These  arts  extended  to  Venice ;  then 
to  Constantinople.  Greek  art  was  strongly  influenced 
by  the  paintings,  textiles,  and  interior  decorations  of 
Turkish  art.  We  see  to-day  copies  of  rich  Greek  robes, 
brocaded  Venetian  evening  cloaks,  Arabian  bur- 
nooses,  crinolines  and  Mediaeval  gowns — hooped, 
girdled,  and  draped — and  beautiful  robes  copied  from 
the  Directoire  period.  One  may  see  a  strikingly  orig- 
inal Mediaeval  gown  of  Poiret's  based  on  a  court 
jester's  costume  with  banding  ornaments  and  pointed 
green  cap  and  bells.  Some  of  the  latest  costumes  are 
so  grotesque  that  we  pause  in  awestruck  interroga- 
tion. We  are  more  confused  than  we  have  ever 
been  if  we  long  to  follow  the  fashions  and  yet  be 
well  dressed,  because  the  designs  that  are  shown  in 
the  magazines  and  the  costumes  that  are  displayed  in 
the  shops,  are  a  hectic,  wild,  Arabian-night  jumble  of 
Turkish  trousers  and  Turkish  pointed  slippers  walk- 
ing out  of  immodest  skirts, — a  wild  Eussian  ballet  of 
tilting  lamp  shades,  vari-colored  swan's  down  bod- 
ices, colored  furs,  bloomers  and  trouserettes,  and 
brilliant  Poiret  head-dresses.  How  is  it  possible  to 
select  a  suitable  gown  from  all  this  1  The  solution  is 

[69] 


TEXTILES  AND  COSTUME  DESIGN 

that  one  may  design  for  oneself,  with  logical  thought 
and  with  beautiful  materials,  simple  tailored  suits 
and  attractive  and  dignified  afternoon  and  evening 
wraps. 

Is  it  not  true  that  we  have  in  our  modern  costumes 
greater  wealth  of  color,  greater  marvel  of  weave, 
greater  brilliancy  of  contrast,  than  ever  before?  The 
textile  manufacturers  are  the  master  designers  of 
dress  in  Europe  and  America.  They  have  taken  all 
that  is  best  and  most  beautiful  in  the  art  of  the 
ancient  East,  and  with  exquisite  skill  and  perfect 
taste  they  have  harmonized  colors  and  designed  crea- 
tions that  for  royal  splendor  have  had  no  parallel  in 
two  thousand  years.  The  designs  of  the  past  few  sea- 
sons have  been  Chinese,  Japanese,  East  Indian, 
Turkish,  Arabian,  and,  above  all,  Persian. 

In  costume,  therefore,  beauty  is  gained,  no  matter 
what  the  material,  if  silhouette  and  line  are  followed ; 
but  as  soon  as  the  structural  basis  is  ignored,  the 
lines  become  ugly,  as  in  a  Louis  XIV  chair.  Line  must 
be  considered  not  only  in  the  gown,  but  in  the  hat 
and  hair,  and  the  modeling  of  the  face  and  head  in 
relation  to  the  hat.  Also,  the  hair  must  be  arranged 
so  simply  and  effectively  that  it  unites  and  harmon- 
izes every  good  characteristic  of  one's  features. 

To-day  our  adaptations  of  costume  are  grotesque 
indeed.  They  need  not  be.  Our  modern  dress  should 
be  more  beautiful  in  line  and  color  than  it  has  ever 
been  before.  What  is  worn  to-day  may  be  a  revival  of 
the  best  of  the  old,  a  reminiscent  dream,  not  a  night- 
mare. The  hope  for  costume  designers  in  the  future 

[70] 


CONCLUSION 

lies  in  the  careful  study  of  the  best  of  the  historic 
costumes. 

Monsieur  Challemel,  in  his  interesting  work,  The 
History  of  Fashion  in  France,  writes : 

"We  must  not  limit  the  causes  of  fashion  to 
three  only:  (1)  The  love  of  change,  (2)  The  in- 
fluence of  those  with  whom  we  live  and  the  de- 
sire of  pleasing  them,  and  (3)  The  interests  of 
traders  in  a  transient  reign  of  objects  of  luxury, 
so  that  their  place  may  be  supplied  with  fresh 
novelties.  There  remains  to  be  pointed  out  a 
fourth  and  much  nobler  cause.  There  is  the  fre- 
quently, though  not  always,  successful  desire  to 
improve  the  art  of  dress,  to  increase  its  charm, 
and  to  intelligently  and  sanely  advance  its  prog- 


[71] 


SUGGESTED  OUTLINES  OF 
COSTUME  DESIGN 

NUMBER  I 

1.  Textiles  and  Textile  Design.  Consideration  of  all 

materials  from  the  standpoint  of  their 

a.  Quality. 

b.  Texture  (surface  and  color). 

c.  Weave  (simple  or  elaborate). 

d.  Weight  and  Durability  for  season 's  use. 

e.  Cost. — Demand  for  better  quality  of  material 

and  refusal  to  buy  cheap  textiles  would  re- 
sult in  manufacturers  ceasing  to  produce 
textiles  of  inferior  quality  and  bad  color. 

2.  The  Historical  Influences  in  Costume  Design  are : 

a.  Textiles  and  Textile  Design. 

b.  Silhouette — outline. 

(1)  Greek. 

(2)  Bustle. 

(3)  Crinoline. 

c.  Line. 

d.  Detail. 

[72] 


SUGGESTED  LINES  OF  COSTUME  DESIGN 

e.  Consideration  of  Silhouette  and  Detail  to- 
gether, involving  thought  of 

(1)  Costume  as  a  whole  in  relation  to  the 

anatomy  of  the  human  figure. 

(2)  Designing  of  costume  and  all  the  de- 

tails, including  regard  for  the  prin- 
ciples of  Design — Proportion, 
Ehythm,  Harmony,  and  Balance  in 
Costume. 

(3)  Dress  as  a  whole  in 

(a)  Mass. 

(b)  Line. 

(c)  Color. 

3.  Detail  and  Decoration. 

a.  Subordination  to  Costume  as  a  whole  in  Mass, 

Line,  and  Color. 

b.  Accentuation  of  centers  of  interest  by  acces- 

sories (hat,  collar,  belt,  shoes,  gloves, 
et  cetera). 

c.  Avoidance  of  cheap  imitation  trimmings. 

d.  Avoidance  of  profuse  use  of  trimmings. 

4.  Color.  Involves  Proportion,  Ehythm,  Harmony, 

and  Balance.  Its  choice  depends  upon : 

a.  Becomingness  to  wearer  and  type  of  color- 
ing of 

[73] 


TEXTILES  AND  COSTUME  DESIGN 

(1)  Eyes. 

(2)  Hair. 

(3)  Complexion. 

b.  Appropriateness  to  occasion. 

c.  Method  of  Color  combination  (Harmony). 

d.  Knowledge  of  meaning  of  Color   (Symbol- 

ism). 

NUMBER  II 
Success  of  Costume  Design  depends  upon : 

a.  Consideration  of  Anatomy  of  Human  Body. 

b.  Principles  of  Design  in  Mass,  Line,  and  Color. 

c.  Good  Taste. 

d.  Suitability  to 

(1)  Type  of  Person. 

(2)  Occasion. 

e.  Durability  of  Material. 

f.  Comfort,  Simplicity,  and  Convenience  of  Ad- 

justment. 

g.  Artistic  Effect. 

NUMBER  III 

Logical  Analysis  of  Dress  involves : 
a.  Design. 

(1)  Line  and  Draping. 

(a)  Long  line. 

(b)  Continuous  line. 

[74] 


SUGGESTED  LINES  OF  COSTUME  DESIGN 

(c)  Repeated  line. 

(d)  Opposed  line. 

(2)  Silhouette. 

(3)  Texture  of  Cloths. 

(a)  Surface. 

(b)  Weave. 

(c)  Weight. 

(4)  Decoration. 

(5)  Color. 

(6)  Detail. 

b.  Influence  in  Costume  Design. 

(1)  Silhouette. 

(2)  Detail. 

(3)  Textile  Design  and  Textiles. 

c.  Changes  in  Silhouette. 

(1)  From  Greek.  Little  change  until  later 

Middle  Ages. 

(2)  Louis  XVI. 

(3)  Revolution.  Return  to  Greek  Silhou- 

ette (Empire). 

(4)  Three  Types  of  Silhouette. 

(a)  Crinoline,    generally    bell- 

shaped. 

(b)  Bustle. 

(c)  Greek,  which  is  natural. 

[75] 


BIBLIOGRAPHY 


BIBLIOGRAPHY 

REFERENCE  BOOKS  ON  TEXTILES 
AND  COSTUME  DESIGN 

*<BARKER,  Textiles. 
CLODD,  Story  of  Primitive  Man. 
DOPP,  Place  of  Industries  in  Elementary  Education. 
DOPP,  The  Cave  Dwellers. 
DOPP,  The  Tree  Dwellers. 
DOPP,  The  Later  Cave  Dwellers. 
DOPP,  The  Tent  Dwellers. 
GIBBON,  Industrial  History  of  England. 
HOTTENROTH,  Le  Costume,  School  Arts  Pub.  Co. 
HOPE,  Costumes  of  the  Ancients. 
HANEY,  Classroom  Practice  in  Design. 
JOLY,  Man  Before  Metals. 
KELLER,  F.,  Lake  Dwellings. 
MASON,  Woman's  Share  in  Primitive  Culture. 
MASON,  Origins  of  Invention. 
PELLEW,  Dyes  and  Dyeing. 
PETRIE,  Arts  and  Crafts  of  Ancient  Egypt. 
•  POSSELT,  Textiles. 
QUICHERAT,  Historique  du  Costume. 
STARR,  Steps  in  Human  Progress. 
VASARI,  Lives  of  Seventy  Painters  and  Sculptors. 
^  WALTON,  Story  of  Textiles. 

Catalog  to  Egyptian  Collection  in  British  Museum. 

[79] 


TEXTILES  AND  COSTUME  DESIGN 

Guide  to  Greek  and  Roman  Life  in  British  Museum. 
Perry  Pictures  of  Costume,  Famous  Paintings, 

mounted  and  kept  on  file. 
WATSON,  Textiles  and  Clothing. 

READINGS— TEXTILES 

. 

SPINNING  AND  CARDING 

MABSDEN,  F.,  Cotton  Spinning,  Chapters  i,  vn,  vm. 
NASMITH,  J.,  Student's  Cotton  Spinning,  Chapter  i. 
MASON,  Woman's  Share  in  Primitive  Culture. 
MASON,  Origins  of  Invention. 
EARLE,  Home  Life  in  Colonial  Days. 
WILDE,  J.,  Industries  of  the  World. 
1  WATSON,  Textiles  and  Clothing  (H.  S.  Use). 
DOOLEY,  Textiles  (H.  S.  Use). 
HOOPER,  Hand  Loom  Weaving,  Chapter  i. 
GILROY,  Art  of  Weaving,  Ancient  and  Modern. 
WOOLMAN  AND  McGowAN,  Textiles  (Comprehensive 

View),  College  Work. 
CAMAN,  Industrial  History  of  United  States. 

WEAVING 

MARSDEN,  Cotton  Weaving,  Chapters  i,  n. 
MASON,  Origins  of  Invention,  Chapters  n,  in. 
MASON,  Woman's  Share  in  Primitive  Culture,  Chap- 
ter in. 

TYLOR,  Anthropology,  page  246. 
EARLE,  Home  Life  in  Colonial  Days,  Chapter  xi. 
DOOLEY,  Textiles. 
MATTHEWS,  Textile  Fibers. 

[80] 


BIBLIOGBAPHY 

DODGE,  Useful  Fibers  of  the  World. 

ASHENHUBST,  Weaving  and  Designing. 

Fox,  Mechanism  of  Weaving. 

HOOPEB,  Hand  Loom  Weaving,  Chapters  n,  m,  v, 

vii  (Warping  and  Drawing). 
KANSTANEK,  Manual  of  Weave  Construction. 
BABBEB,  Textiles. 
GIBBS,  Household  Textiles. 
WOOLMAN,  Textiles. 
GILBOY,  Art  of  Weaving. 
1   POSSELT,  Technology  of  Textile  Design. 
TODD,  Hand  Loom  Weaving. 

COTTON 

WILKINSON,  Story  of  the  Cotton  Plant. 

WILDE,  Industries  of  the  World,  Volume  i,  page  39 ; 

Volume  n,  page  8. 

BUBKETT,  Cotton,  Chapters  iv,  xxi,  xxn,  xxvii. 
Encyclopedia,  Article  on  Cotton. 
CHISHOLM,  Handbook  of  Commercial  Geography. 
MABSDEN,  Cotton  Spinning. 
DODGE,  Useful  Fibers  of  the  World. 
NASMITH,  Cotton  Spinning. 
HUMMEL,  Dyeing  of  Textile  Fabrics. 
ZIPSEB,  Textile  Raw  Materials. 
HANNAN,  Textile  Fibers  of  Commerce. 
MATTHEWS,  Textile  Fibers. 
WATSON,  Textiles  and  Clothing. 
DOOLEY,  Textiles. 
WOOLMAN  AND  McGowAN,  Textiles. 

[81] 


TEXTILES  AND  COSTUME  DESIGN 

BENNETT,  Glossary  of  Cotton  Manufacture. 
MITCHELL  AND  PRIDEAUX,  Fibers  Used  in  Textile  In- 
dustry. 

BARKER,  Textiles. 
BROOKS,  Cotton. 

DANNERTH,  Methods  of  Textile  Chemistry. 
POSSELT,  Cotton  Manufactures. 

MAGAZINES 

Popular  Science  Monthly,  No.  86,  page  289. 
Popular  Science  Monthly,  No.  87,  page  789. 
Review  of  Reviews,  No.  15,  page  475. 

WOOL  AND  WORSTED  INDUSTRIES 

Encyclopedia,  Breeds  of  Sheep  and  Character  of 
Their  Wool.  (Wool,  Sheep,  By-products,  Sub- 
stitutes.) 

MCLAREN,  Wool  Spinning. 

WILDE,  Industries  of  the  World,  Volume  i,  page  54. 

BEAUMONT,  Wool  Manufacture,  Chapter  i. 

CHISHOLM,  Commercial  Geography,  page  88. 

Encyclopedia,  Article  on  Wool. 

CHAMBERLAIN,  How  We  Are  Clothed. 

MATTHEWS,  Textile  Fibers. 

ASHENHURST,  Weaving  and  Designing. 

POSSELT,  Wool,  Silk,  Cotton. 

DANNERTH,  Methods  of  Textile  Chemistry. 

WATSON,  Textiles  and  Clothing. 

DOOLEY,  Textiles,  Chapter  in,  Substitutes,  Et  Cetera. 

[82] 


BIBLIOGRAPHY 

MITCHELL  AND  PBIDEAUX,  Fibers  Used  in  Textile  In- 
dustries. 

ZIPSEB,  Textile  Raw  Materials. 
BOTH  WELL,  Printing  of  Textile  Fibers. 
BABBEB,  Textiles. 

CABPENTEB,  Hoiv  the  World  Is  Clothed. 
BEAUMONT,  Woolen  and  Worsted  Cloth. 
BOWMAN,  Wool. 
MUTBIS,  Wool  and  Other  Animal  Fibers. 

SILK 

WATSON,  Textiles  and  Clothing. 
DOOLEY,  Textiles. 

WILDE,  Industries  of  the  World,  Volume  11,  page  46. 
CHISHOLM,  Commercial  Geography,  pages  96-103. 
GILROY,  Silk  Manufacture. 
CHAMBEBLAIN,  Hoiv  We  Are  Clothed. 
MATTHEWS,  Textile  Fibers. 
HANNAN,  Textile  Fibers  of  Commerce. 
COBTICELLI  SILK  COMPANY,  Silk,  Silk  Worm. 
POSSELT,  Wool,  Cotton,  Silk. 

MITCHELL  AND  PBIDEAUX,  Fibers  Used  in  Textile  In- 
dustries. 

BABBEB,  Textiles. 

DANNEBTH,  Methods  of  Textile  Chemistry. 
Popular  Science  Monthly,  Volume  36,  page  500. 
Harper's  Weekly,  April,  1910. 
Good  Housekeeping,  May,  1911. 
CARPENTEB,  How  the  World  Is  Clothed. 
GIBBS,  Household  Textiles. 

[83] 


TEXTILES  AND  COSTUME  DESIGN 
WOOLMAN  AND  McGoWAN,  Textiles. 

HANAUSEK  AND  WINTON,  Microscopy  of  Technical 

Products. 

WILLIAMS,  Silk  Culture  in  California. 
Hero  Journal,  June,  1913. 
1914  Federal  Laws. 


FLAX,  JUTE,  HEMP,  ET  CETERA 

Nutshell,  Textile  Fibers  of  Commerce. 

Encyclopedia,  Flax. 

Encyclopedia,  Linen. 

DODGE,  Useful  Fiber  Plants  of  the  World. 

WILDE,  Industries  of  the  World,  Volume  n,  page  38. 

CHISHOLM,  Handbook  of  Commercial  Geography. 

KELLER,  Lake  Dwellings,  Volume  n. 

WILKINSON,  The  Ancient  Egyptians,  Volume  n. 

CHAMBERLAIN,  How  We  Are  Clothed. 

MATTHEWS,  Textile  Fibers. 

HANNAN,  Textile  Fibers  of  Commerce. 

DOOLEY,  Textiles. 

WATSON,  Textiles. 

BARKER,  Textiles. 

WOOLMAN  AND  McGowAN,  Textiles. 

DANNERTH,  Methods  of  Textile  Chemistry. 

ZIPSER,  Textile  Raw  Materials. 

CARPENTER,  How  the  World  Is  Clothed. 

BOTH  WELL,  Printing  of  Textile  Fibers. 

CARTER,  Flax,  Hemp,  Jute  Spinning. 

FRAPS,  Principles  of  Dyeing. 

[84] 


BIBLIOGRAPHY 

SHARP,  Flax,  Jute,  Tow  Spinning. 

WARDEN,  Linen  Trades,  Ancient  and  Modern. 

PELLEW,  Dyes  and  Dyeing. 

Farmers'  Bulletin  No.  669,  "Flax."  A  Visit  to 

Works,  York  Street  Flax  Spinning  Co.,  107-113 

Franklin  Street,  New  York. 


[85] 


14  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 
LOAN  DEPT. 

This  book  is  due  on  the  last  date  stamped  below,  or 

on  the  date  to  which  renewed. 
Renewed  books  are  subject  to  immediate  recall. 


|May'59BB 


9 


195! 


MAY  28-68 -5PM 


•  ;  •  • ' 


HEC*& 


u^soc^feg^!* 


•••'•T-'  '.oan 


c<  1  Oigag 


OCT  3 1 1963 


REC'D  LD 


«OVl3'63-6p| 


LD  21A-50m-8,'57 
(C8481slO)476B 


General  Library 

University  of  California 

Berkeley 


YC   15055 


t  * 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

•  •-  .'  ':   -(•'• ':"  A  if 

,    .    -  * 


